“I followed the Heavy Hitters in the artistic process led by Lea Ved, culminating in the performance Common Enemy. I was impressed by this first performance...I also noticed the rawness: there is heavy pulling and wrestling. You rarely see this rawness on (inter)national dance stages, where, for my taste, polished forms are chosen just too often, as if what is seen as “masculine” is no longer allowed to be expressed. The rawness alternates with vulnerable, tranquil scenes so that, in addition to the collective, you also experience the individual qualities and story of each dancer.”

— Geesje Prins - Main Programmer, Amare

“It was crazy to see what was created by matching The Heavy Hitters and Lea Ved. Two worlds, with different principles, that really meet each other. A whirlwind of raw energy and a calmer observer who knows how to make the right invitations. Lea guided the full pull male bravado into vulnerable channels and the Hague breakers in turn opened up so that they could discover and explore deeper grounds together. Together in Common Enemy they show the breadth of male friendship that ranges from challenge and machismo to loyalty and deep love for each other. A beautiful portrait of this group of dancers that makes you want to see even more of them.”

— Marc Maris - Dance programmer, Korzo

“Common Enemy is both brutally hard and mercilessly soft. Sometimes you can almost smell the testosterone. Choreographer Lea Ved has clearly been embraced by the brotherhood, which has allowed them to create such an authentic piece together. Common Enemy is fuelled by the friendship and stories of the Heavy Hitters. And don't forget their skills! This collaboration between crew and choreographer is a special new chapter in the development of 'hip-hop from the street to the theatre.'

— Julie Vegter - Dance Programmer, Vondelpark Openlight Theater

“Common enemy is a dynamic group choreography that makes clever use of the elements of breaking and contemporary dance theater.
It is a raw and intense piece that continues to fascinate.
The choreographer Lea Ved has clearly kept the group as authentic as possible and that makes the end result real and catchy.”

— Andre "Drosha" Grekhov – Artistic Director Stichting Sample Culture, Urban Dansdagen

"The performance was a remarkable example of how combining distinct styles of dance can give birth to a new and captivating artistic signature. Throughout the entire performance, I found myself deeply attuned to the fact that the creation of the piece has acted as a conduit for heightened understanding and profound exchange. The realization of the piece succeeded in seamlessly blending two seemingly disparate dance forms by transcending their individual essences. The synergy that unfolds on the stage is a testament to the creative possibilities that arise when diverse movement languages interweave in harmonious conversation. Guided by Lea Ved, the dancers of Heavy Hitters embraced the intricacies of each style and interwove them into a cohesive whole. I could feel that both performers and the choreographer expanded the horizons of their expertise, and the result of this collaboration resonates with authenticity.”

— Isabelle Chaffaud, Artistic Director CLOUD DansLab

“The world premiere of "Of lost and wild roses", on the small stage, was a dense little dance drama for three in choreography by Lea Ved from Nederlands Dans Theater, NDT....In "Of lost and wild roses", Fan Luo, Yasmin Mahmod, and Danielle de Vries dance sensitively and vigorously with the audience close by. With three carpets, three lamps, two chairs and a desk, Ved's choreography marks three lives and rooms where the movements are intertwined. Integrity, the longing for contact, and tangled relationships are fine-tuned in half an hour. A good start to the festival.”

— Lis Hellström Sveningson, Göteborgs-Posten

“her refined body motor skills, subtly varying to the square millimeter, make Darling We're Nowhere but Here a fascinating half hour.
Dancers Simon Bus and Alesya Dobysh (dressed in four shades of beige) go through relational phases, from probing to savage prying.”

— Annette Embrechts, Volkskrant

“She moves modestly between different aesthetics.
It’s sensitive, physically intelligent, and subtle.
Her journey towards an original dance language is unique and inspiring.”

— Club Guy & Roni

“This is the choreography of a touch and emotion...seeking movements express both the longing and the doubt that each one carries. The impression is soft and tactile, like a physical blues. There are no straight lines, and every solo lands in the group's rocking community that draws everyone.”

“Lea Ved creates a dreamy mood for a soundtrack of speldosa, sea noise, rose and rain. It's an evasive world, a shady kingdom”

“The choreography is penetrated by inward presence. It is well done in its poetic seriousness”

— Anna Ångström, Svenska Dagbladet

“moves in one very positive playing universe where nothing holds and the mind strives secure strategies”

— Mika Becker, Borås Tidning

“each shape becomes a strong picture of the loneliness that is in existence. Stunning beautiful in a clogged way and an extremely worthy final”

— Malena Forsare, Sydsvenskan

“With tremendous movements they examine what drives us, both forward and backward. The bodies are moving in and out of each other, clinging together into strong collections and slipping out as individual fragments. Shadow play gives in-depth effects on the well-developed flow.”

— Lis Hellström Sveningson, Göteborgs-Posten

“Roll and softness are mixed with more street-like short movements with clear-cut stops. The costume's earthy colors also affect the dance. A sense of harmony lies like an umbrella across the scene. Towards the end a duet is danced and confidence is total”

— Jenny Berkán, Dansportalen

“Lea Ved’s The Cadence was an apt piece to finish the evening. Ms. Ved’s approach to choreography is current and fresh. You see the influences of Hofesh Schecter, Crystal Pite and Sidi Larbi Cherkaoui in both her phrasing and movement choices.

Ms. Ved’s approach to movement is almost pedestrian in that simple actions and gestures are colored and expanded into larger movements. She creates a sense of tension that is held, even explored during the work.”

— Darrell Wood, NYC Dance Stuff