(...) In Görlitz, the eleven dancers of this new dance piece by Dan Pelleg and Marko E. Weigert discover their own wonderlands and embark on the journeys of their fantasies. Not least, these also refer to their own life journeys, which have brought them from a total of seven nations of different continents to Görlitz (...)

(...) At first there is a petite boy sitting in the corner, close to the audience. On his costume one discovers huge hands that constrict and restrict him, against which he tries in vain to fight with twitching movements. It is as if wonderful fantasies wanted to burst this restricted body, as if a fight was raging in this young man, to which the painful-looking twitches testify (...)

(...) This is only one of many examples of how in "Wunderland" the dancers, for the most part, venture out of the dark depths of the pit and find the door that leads into that tunnel, in order to then find their movements, their sounds, their forms of life and love (...)

(...) And already this wonderland in the theater in Görlitz actually attains worldwide dimensions. There the dimensions of the perception on itself and on the others become crazy, and then they are all a little bit crazy and seem nevertheless so completely normal. Be it that in some variations of the dance the awakenings of the flower power movement are conjured up, that a dancer tries with all effort to get out of his skin and then is quite happy with his partner, because there is enough room for both of them (...)

(...) Moreover, such seductive sounds lure through the selection of the very different music. Can not get out of your head: "My love is like a red, red rose" with The Kingʻs Singers, even more so when such a movingly sensitive duet is danced. Also in contemporary dance one takes off, there the dancers let each other float, in beautiful jumps as moments of freedom (...)

(...) But in this wonderland there are also free, performative moments again and again. Then the dancers get involved in a very personal way, nevertheless guided and directed by Dan Pelleg and Marko E. Weigert, whose concept proves itself in the choreographic collaboration with the whole dance company. When at the end they have all arrived at themselves and have as good as taken off their costumes, then the true wonderland opens, because freely after Joachim Ringelnatz there is wonderland everywhere, be it in the garter of the aunt or somewhere beside (...)