'The Dybbuk':

''... A vivid dance of possession....This production, directed by Ms. Pascal and designed by Thomas Kampe, makes ingenious use of simple props like blankets and ladders to convey the debased poverty of the ghetto....“Dybbuk” builds to a remarkable climax.... Well after the play ends, this harrowing image holds fast. '
Daniel M.Gold ; New York Times 2010

‘The production is the most profound, gripping, meaningful theatrical experience I ever have had [...]Thomas Kampe, who designed the sets, also provided choreography, and his use of dance and movement imbues the production with all the power of bodily experience. The actors don’t “act”; they move and become. The movement he creates for the actors embodies what authentic movement therapists use in their work, […] an extremely powerful modality.’ Molofski , M (2010)

'As the storytelling ends, a choreographic, silent retelling of the tale is one of the most striking and haunting moments of theater I've ever seen.' Larry Litt http://www.nytheatre-wire.com/ll10084t.htm

‘The most impressive aspect of the evening was the acting. Never have I seen a physicalisation of horror as performed by Thomas Kampe. His body language formed the incredible climax within the extremely agile ensemble of Pascal TheatreCompany.’ Rheinische Post

‘......Unforgettable....’ Evening Standard
‘......Death dance which is profoundly disturbing in its ability to so cleverly combine beauty with horrible intent The Guardian
‘.......A sequence of physical theatre which stunned the audience into silence.’ Glasgow Herald
‘.....Achingly beautiful choreography…’ Huddersfield Examiner
‘......versatile props and set and intense physicality combine to provide a near-unbearable atmosphere of tension and suffering and some truly amazing effects. The ballet of the dead man’s spirit entering and dominating the young girl is one of the most remarkable pieces of theatre I have ever seen. ' Plays and Players

'Departure':

"Simple and evocative.....Kampe is able to shift deftly across a wide range of movement qualities, fusing the physical and emotional layers of his work into an organic stream of arresting and potent images” The Guardian

'St.Joan':

‘.... Thomas Kampe’s design and especially movement direction is startling - the images he creates with body movement are pure aestheticism and add even more depth and tone to what is already a remarkable play.’ London Theatre Web Site