Weekendavisen. Se Dagens Lys [See the Light of Day]:
(Review: Eternal change, by Asker Hedegaard Boye)

“A score of stylized houses in neon and pastel are shot forth around each other and fashion new formations. Sometimes labyrinthine, other times threatening, constantly alluring. It’s plain and simple, and it’s utterly extraordinary.Juhlin is one of those young geniuses, only a few of which are to be found in each generation.

He makes his insistence on effervescing beauty without ever falling into facade, and then – like Kirsten Dehlholm, the grand figure of Danish theater – he’s able to transform theater into visual art and visual art into theater. That's the way to proceed.”

Jyllands-Posten. Svantes Lykkelige Dag[Svante’s Happy Day]:
(Review: Svante is not the worst you’ve got, by Henrik Lyding)

“In a sublime trippy-poetic gray-toned Denmark space with crooked telegraph poles, upright birch trunks and co-poeticizing folk choir, with rocking pigeons or birdhouses on the cap and red spikey grass in the shoe, the story is unfolded. Anders W. Berthelsen plays both the author and Svante, Lise Baastrup both the narrator and Nina - with Berthelsen as the somewhat downhearted underdog, and Baastrup bellowing across the stage with scenic presence and the revue-like primordial force that’s her stock in trade. The two suit one another to such a considerable degree, entirely in sync with Denmark’s currently most original young scenographer Julian Toldam Juhlin’s simultaneously wild and delicate stage pictures …”

Berlingske. Halfdans Hokus Pokus [Halfdan’s Hocus-pocus]:
(Review: Exuberant Halfdan Rasmussen performance for the whole family…, by Anne Liisberg)

“The magic arises especially in Julian Juhlin’s visual interpretation of the Rasmussen world. On the one side, an explosion of colors, enlargements and cunning moves and, on the other, an equally pure-hearted expression brought forth by the show’s curiously bewildered characters. A profusion of candy stripes, Babushka doll, balancing act and fish in a bowl – the reins are always held tightly, with the result that the eye is getting surprised but not getting confused. Unparalleled!”

Jyllands-Posten. Peter Pan:
(Review: Bang for the pirate’s penny, by Henrik Lyding)
“It's as though everything in the show forms a synthesis in Moqi Simon Trolin's magnificently through-choreographed and child-friendly staging. Hand in hand with the young set designer Julian Toldam Juhlin, who once again proves that he is a outstanding and deeply original image-maker , the past and the present are successfully amalgamated.

Here, the original’s 20th century costumes play perfectly up against modern language usage: here, green natural walls, glowing in the warmest colors, are paired effortlessly with bright and loud-colored neon figures – all of this being borrowed from the children's room inside the chalk-white dollhouse where the Darling family lives, and then magnified in Peter’s wonderland.”

Weekendavisen. Faust:
(Review: Sympathy for the devil, by Linea Maja Ernst)

“Wunderkind Julian Toldam Juhlin has created an enchanting stage design in blue and white.Faust's study/1990s-office is chalk white. He and the Devil cast tropical shadows in green, pink and yellow. On the back wall is a large, circular hole, in longingly deep blue, which is transformed into a globe, a portal to the world outside, a magic mirror, a full moon.When Gretchen places herself in Faust’s hands, a midnight blue cloth is drawn through the circle, and Gretchen’s blind brother lies suspended, asleep in the middle of it all, while they are romping around behind this. Suddenly, the scene is overturned and the hole turns into a circus ring, in a hellish landscape where a fallen woman is crawling around – lost – on all fours. Juhlin is a sorcerer.”

Politiken. Svantes Lykkelige Dag [Svante’s Happy Day]
(Review: Life is not the worst you’ve got, by Monna Dithmer)

“The young master set designer Julian Toldam Juhlin understands how to let his imagination run riot. The folk choir can stomp around, heavily and exuberantly, with a half shrub bristling up from the red boots, until Skåne-Svante's ‘bright birch grove’ suddenly descends from above, with gossamer tree trunks, or telephone poles spring up with birds gingerly on the wire – only to slant over, crosswise, because there’s searing haywire burgeoning in Svante-man’s head.”

Berlingske. Frøken Jensens Kogebog [Miss Jensen's Cookbook]
(Review: We switch over to the theater kitchen, by Rikke Rottensten)

“… it’s Julian Toldam Juhlin's scenography that turns ‘'Miss Jensen's cookbook’ into something very special. With the blue fluted porcelain as recurring symbol on the carpet and in the costumes, we’re placed in the middle of a beautifully arranged meal, served by the three Jensens, wearing dresses with puff sleeves and blue stiffeners. Where it is that Juhlin really enthralls us, however, is when he conjures up the three main courses: masked cauliflower, brisket of beef with sweet-and-sour horseradish sauce, and blanched pear with warmed chocolate sauce.”

Teateravisen. Citroner i vand [Lemons in Water]
(Review: Wondrous lemon moon adventure, by Anne Middelboe Christensen)

“The set design for ‘Lemons in Water’ is crucial to this plotless show. The young set designer Julian Juhlin Toldam - who recently created a fascinating and stylized death-world at the Betty Nansen Theater in the Peter Asmussen performance, ‘Soli Deo Gloria’ – has created a veritable lemon-land here.There are lemons everywhere in the sky, with a ‘lemon moon’ carved out into the wall as a window looking out to the whole universe. And the lemons can sparkle, both when one stares at them and when the light emanates from the outside – and when one touches them and they light up, like small lamps.”

Weekendavisen. Peter Pan:
(Review: Peter Pan in candy colors, by Jannie Schjødt Kold and Marika Schjødt Kold)

“Peter Pan aspires to be a modern version of the old fairy tale about the boy who refuses to grow up. And so’s the scenography, also: modern. With immortal loud-colors and a completely undaunted approach to the choice of costumes. It’s Julian Toldam Juhlin who’s responsible. He is a young set designer who transforms almost every scene into visual art, in candy colors. Wow!”

Kulturkupeen. Se Dagens Lys [See the Light of Day]:
(Review: See Dagens Lys at Aarhus Theater. by Ulla Strømberg)

“… thanks to set designer Julian Toldam Juhlin’s beautiful, abstract pastel-colored scenography, this modern and futuristic worldview glides soundlessly across the stage. We’re in a city, a world, engendered by stylized houses in neon tubes that can be displaced and can give rise to new formations and colors. The costumes are beautiful, and have similarly been designed in matching pastel colors. Nice idea, and this stylistic abstraction gets the whole scenery to turn into a visual treat. Once again, Julian Toldam Juhlin demonstrates his brilliance.”

Berlingske Tidende. Peter Pan
(Review: The little bird inside the egg, by Anne Liisberg)

“The narrative universe is inextricably bound up with a distinctively accentuated sound- and light-universe and the wholly unparalleled and inordinately sharp, generous scenography which, if anything, accepts imagination at face value. Out from the opening scene's miniature children’s room, an entire Wish Island sprouts forth in the form of enlargements and condensations of the wallpaper’s and bedding’s palm trees, the small luminous flamingo and the cuddle toys with which Wendy and her brothers surround themselves.The flamingo grows to Las Vegas size, in ultra-cool neon and Marooner’s Rock, where one walks the plank, is a tilted teddy bear. So poetic, so luminous, so pure, and still so associative.According to the show’s program, ‘Peter Pan’ is set designer Juhlin's dream assignment, and he has tackled the task brilliantly.”

Berlingske. Faust
(Review: Blue longings, between dream and nightmare, by Anne Lisberg)

“The team behind Mungo Park and Alias ​​Teaterproduktion's reinterpretation of Goethe’s Faust myth succeeds exceedingly well, visually, with an absurdly beautiful-eerie universe created from colors and tones that are being distended between dream and nightmare. Scenographer/shooting star Julian Toldam Juhlin and Jacob H. S. Rasmussen's co-poetic lighting design captures, with its colors and its forms, the narrative’s essence and lets us seesaw between innocence and desire, between light and pain.”

Information. Som var det i går [As things were, yesterday]
(Review: The Great Baronial Hall is still red-haired, by Anne Middelboe Christensen)

“Director Geir Sveaass and co-director/choreographer Charlotte Munksø have managed to bring forth a cabaret with nostalgic surprises in unbroken flow. The gags have a splendid time in Julian Toldam Juhlin’s merry vaudeville-like scenography, where loosely hanging women’s legs exert a dramatically invigorating effect on the audience, and where costumes evolve into cloak-installations and net-stocking fantasies.”

Gregersdh.dk. Peter Pan
(Review: Peter Pan at Folketeatret’s Large Stage, by Gregers Dirckinck-Holmfeld)

“The Folketeatre tells, in a funny and naughty way, but also poetically and crackbrained in the consciousness, that children in the year 2017 are in possession of a free language that’s free of too many inhibitions. And a well-developed visual imagination.ACTION is the approach. Action and pictures. It’s THERE that set designer Julian Toldam Juhlin is capable of delivering. This odd youngster who, last season, got ‘Svantes viser’ to grow, in a fragrance of flowers and birdsongs, at Nørrebro Theater - in our review, we called him ‘a modern Hieronymus Bosch’. He’s actually a 30-year-old boy who allowed himself to be moved around all over the country last summer, on exhibition inside a showcase as the Eternal Virgin and who, upon being asked what his own sexuality was, replied: ‘That’s something that I haven’t made up my mind about yet. It's more fun to watch a bird that doesn’t know what it is. ”SO transiently and airily does he get the forgotten children, Peter Pan's friends, to emerge from trees and bushes, and woods, and also gets sky, sun and moon to shine, in the colors of the rainbow which suit him, colors that keep dreams of eternal life and transformation alive.”