Mignon figure moves
Vindevogel and Mignon seemed dangerously close. (...) Add Vindevogel's small stature, her unmistakable child-woman features and the fairytale-like text fragments, and the picture was complete. (...)
The Gentenaar - 12/12/1988

'The theatre performance approaches the Mignon character from the widest possible perspective. Indeed, only in the symbiosis between image, movement and music does this complex creature actually take shape. (...) Strong, gripping was that. It tastes like more.'
The Gentenaar - 9/2/1989

'The music may be very important in this theatre production, but Mignon is more than that. Paul Peyskens succeeds in creating a moving performance in which the texts of Czechov, Shakespeare, Barthes and Goethe, the authentic acting, the set and the music flow together wonderfully and form a beautiful whole. (...) With Mignon, Vindevogel and Peyskens deliver a movingly beautiful performance.'
S.I.C. - 14/2/1989

Only when Vindevogel sings, something happens, just like sometimes something happens between the other actors, or with the pianist, but separate from the music. (...) This is not music theatre, but music in addition to theatre, thus losing its meaning, even though the acting and singing in the separate parts are excellent.
Wim Van Gansbeke, Studio Brussel - 20/2/1989

'You feel this Mignon could have been a theatre poem. Not a story, but showing how emotions can be transformed into facial expressions, gestures, voice, movement, singing. Showing also how honesty and pose intermingle. (...) But the little theatrical subtleties have too little adhesion with each other. Thus it is that - paradoxically enough - in the end it is still the recital aspect that is most captivating.'
Fred Six, De Standaard - 22/2/1989

'Indeed, Judith Vindevogel manages to surround herself with professionals who are each worthwhile in their own right.(...) Thus, the entire production is full of expectations that are hardly met. The viewer must content himself with the knowledge that a lot of talent has been brought together here that slides on post-modernistically smoothed over.'
Roger Arteel, Knack - 1/3/1989

'Highlight was the one sung with Marianne Pousseur Nur wer die Sehnsucht kennt... You heard a lark and a nightingale, putting that homesickness into perspective with humour and wit while taking it dead serious, thoughtfully accompanied by pianist Koen Kessels. But even when not singing, Judith Vindevogel, the brains behind the performance, was a joy to behold. (...) A formidable stage personality in a short performance from which half could be left out. But for what you are left with, I would gladly trade a whole season of company X at Y.'
Martin Schouten, Volkskrant - 4/3/1989

'The project Mignon is at times tender and moving, funny and tragic, however it is above all an atmospheric piece. Judith Vindevogel's appearance with her powerful soprano voice brings this atmosphere of pure aesthetics convincingly to the stage, as Judith Vindevogel proves to have not only extensive vocal capabilities, but also a surprising stage presence.'
Gazet van Antwerpen - 7/3/1989

Mignon, Judith Vindevogel and Paul Peyskens' sensitive and oh-so-beautiful musical theatre project. (...) A very different atmosphere emanates from the very rich and fragile performance 'Mignon' (...). After one viewing, you do not grasp the full content of this performance. You can only sense that something very fragile has been put on stage here.
De Morgen - 8/4/1989

'Paul Peyskens and Judith Vindevogel turned this Mignon character into a moving theatre performance. (...)Apart from being an actress, Judith Vindevogel is above all a sublime singer who, with her soprano voice, manages to evoke exactly the effect she aims for. (...) For lovers of song and restrained laughter, Mignon is a lyrical performance, restrained but full of humour'.
Eric Korsten, 't Lichte magazine - June 1989

'The music eventually prevailed; the moments that impressed me most were when Judith Vindevogel was singing alone with her pianist, Koen Kessels. She doesn't have a big voice, but it is a voice full of expression, and it is a vulnerable creature in a flat world.'
Radio interview with Lucas Huybrechts, BRT 1 programme "Tussendoor" - 16/12/1989