Press

"His (Pusch's) nineteen scenes for three performers, partly supported by video projections, divide the genre neatly and carefully into pure although mainly minimalisticly arranged movement and dance sequences on the one hand, and the telling of short, comically weird stories on the other hand, which, edited by hard cuts, are composed to a highly worth seeing and most of all also entertaining whole.
At the beginning of the new century Pusch seems to have found a form that offers a highly imaginative choreographer a basic pattern with good prospects, similar to Pina Bausch's collage structures in the seventies."
FAZ

"Fantastic, (...) how the choreography fills the stage without cluttering it. Three people, three chairs and a video screen are sufficient to captivate the audience for over an hour. Dance-theatre can be this genial, sensitive and acrobatic when it combines aesthetics with meaningfulness."
Neue Westfälische

"Admirable the precision with which Silvia Behnke dances synchronized with her projected alter ego. Captivating the moment when Esther Keil, sitting in front of her enlarged portrait, asks the spectators to look her straight in the eyes leaving them lost about where to focus: on the real actress or on her gigantic image. As a whole, the performance leads to the presumption that with "Cross Dissolve" Pusch found a form that is still good for quite a few outstanding pieces."
ballet international/tanz aktuell