ESTHER, 2024

-“(…)wenn Theater Jugendliche dazu bringt, solch interessierte Fragen zu stellen, dann hat das Netzwerk ‘Explore Dance’ seine Aufgabe, die Jugend zu erreichen, schon mustergültig erfüllt.”

‘(…) if theatre makes youngsters ask such interested questions, then the Explore Dance Network already fulfilled its job of reaching young people in an exemplary way.’ – Falk Schreiber, Abendblatt Hamburg

ULTRA, 2023

“Mehr als Mega – ‘ULTRA’ ist das Ultimative. Nein: Over the top. So wie die Welt ist.(…) ‘ULTRA’ feiert die Undurchschaubarkeit. Unerreichbarkeit.”

‘More than mega – “ULTRA” is the ultimate. No: Over the top. Just like the world is. (…)
‘ULTRA’ celebrates impenetrability. Unattainability.’ – Melanie Suchy, Magazin tanz

‘The eternal dichotomy of the modern man is captured in this all-important image. Inside, everyone is divided, but just that connects us ULTRA hard.’ – Jasmien van de Beek, VETO Magazine

(…) “ULTRA” often manages to amaze and strike you with unusual, intense details that tell you that there is more to the minds of ultras than we assumed. Those details will stay with you. Just like these tough and vulnerable players.’
– Pieter T’Jonck, pzazz

COBRA (Film), 2022

GOLA 4th Movement, 2022

“(…)Gola 4th Movement (ist) ein energiegeladenes Spiel, voller Schönheit und Verausgabung.”

‘(…) Gola 4th Movement (is) an energetically charged game, full of beauty and exercion.’
– Isabel Manka Fuest, Rheinische Post, 8.11.2022

Bad Mothers, 2022

„Spannend und sehenswert gelingt es der Choreographin Reut Shemesh (…) an diesem einstündigen Abend fast ohne Worte, Unsagbares und Tabuisiertes auszudrücken: in repetitiven Rhythmen, Gesten der Macht und Ohnmacht, mit großen, schönen Bildern.“

Exciting and worth seeing, the choreographer Reut Shemesh (…) succeeds in expressing the unspeakable and the taboo in this hour-long evening almost without words: in repetitive rhythms, gestures of power and powerlessness, with large, beautiful images.

Dorothea Marcus, WDR Scala, 21.3.2022



Shemesh’s most impressive work so far
Michael S. Zerban, O-Ton, April 2021

It’s as if this brilliant performance suddenly conjures a deeply sad core of the carnival that upends our traditional knowledge.
Martin Krumbholz, Süddeutsche Zeitung, June 2019

ATARA, 2019

“A highly concentrated cabinet piece that revolves around the life of Orthodox Jewish women, but at the same time about breaking out of confirming, questioning and reflecting on norms, rules… In short, “Atara” represents rather a study of the soul, which, although it also deals with the subject externally, poetically mirroring it in a touchingly minimalist choreography… an internal view set in motion…”
Christian Oscar Gazsi Laki, Westdeutsche Zeitung, May 2019.

GOLA, 2017

LEVIAH, 2016

Whoever was in this place, whoever was behind the fence, their femininity remains damaged – this is the conclusion of this production, in which Shemesh revolves around her explosive topic in a very personal way… A piece that foreshadows how much the end of naivety is also politically consequential.”
Nicole Strecker,, November 2015



“Wildwood Flowers, created and choreographed by Reut Shemesh, is a gripping, edgy, and evocative movement piece”.

  • Review, Stage Buddy NYC, Inna Tsyrlin (September 2015)


„A dark dance pearl is successfully forged.“ 
Thomas Linden, Theaterzeitung AKT


AORA, 2012

Tickle Me to Tears, 2012

Let’s Catch Tigers, 2011

Photo above: Simon Bauer