Une mise en espace est proposée par Franciska Éry [...]
Elle tente d’insuffler une certaine esthétique par l'utilisation de l’écran et notamment des vidéos souvent métonymiques des chanteurs ou des musiciens prises en direct par le comédien (tantôt en jean trop large tantôt en costume), ainsi qu'avec l’adaptation de l’éclairage selon la musique ou encore l’action des chœurs. Elle s’efforce aussi d’établir des liens dramaturgiques plus ou moins évidents dans la chronologie du programme. Elle se montre surtout efficace par la portée théâtrale qu’elle donne à ce récital avec l’apport et la mise en avant d’accessoires et symboles clefs des différents drames (les fleurs empoisonnées de Lecouvreur, la dague de Gabriele menaçant Boccanegra, le crucifix de Spotlights à la fin du Te Deum de Tosca, les pétales tombant sur l’union de Faust à Hélène, etc…) et la direction d’acteur qu’elle impose permettant une incarnation poignante des personnages.
'Franciska Éry provides a shoestring staging that [is] punchy and suitably sepulchral. Gloomy lighting, a great supper-party of zombies, a grim father stymying young love [...] example of a show with the sort of mad, exhilarating ambition that the fringe does best.' ☆☆☆☆ Opera Now on La Nonne Sanglante
'The great thing about Franciska Éry's production was that it refused to concede its scale. Nobody involved thought of it as small, so, by a strange osmosis, it remained a grand opera.' Opera Magazine on La Nonne Sanglante
'Éry Franciska a Csokonai Színház felkérésének egy minden szempontból innovatív Hamlet-adaptációval tett eleget.'
kortarsonline.hu on Hamlet
'Nem véletlen, hogy a magyar viszonyok között formabontó Hamlettel is fiatal, Londonban végzett magyar rendező debütál: Éry Franciska....Minden tekintetben érdemes hazai premierre'
Élet és Irodalom on Hamlet
'Jelenléti színház, analóg forma, mégis egy olyan tartomány, ahol kevés utazó járt. A néző nyitottan, kíváncsin csatlakozik a kalandba, és örömmel számol be élményeiről, mert egy pillanatig se érezte magát elveszettnek.'
szinhaz.net on Hamlet
'Nem tudom, hányszor kerülhet még közönség elé a Hamlet ebben a kivételes formában, de mind az alkotók, mind a debreceni színházba járók érdekében remélem, hogy minél többször. A helyszín atmoszférája, valamint a társulat kimagasló munkája ugyanis sokakat részesíthetne abban a ritka tapasztalatban, hogy valami eleven, friss és jelentős művészi teljesítménynek vagyunk részesei.'
kulter.hu on Hamlet
'...a slick piece of theatre. It is visually arresting and tightly choreographed, with some well-orchestrated set pieces. Stylistically, it is reminiscent of the wonderful formative years of Theatre de Complicité'
thespyinthestalls.com on Asking For A Raise
'There was more than a hint of Beckettian despair in the frenetic set-pieces, that saw the talented cast embody workers, bosses, and tap-dancers as they desperately sought self-worth in the form of extra money. [...] After a while, you forgot you were in a theatre – it was as if you were trapped in the collective subconscious of office workers.' SEEN on Asking For A Raise
'The scenarios in the play are ridiculous and hilarious but not all that unrealistic, turning this easy-going comedy into a poignant piece of satire about contemporary working dynamics. It finds a creative way to get serious for a moment, without disrupting the play’s fast pace, to discuss gender pay disparity'
A Younger Theatre on Asking For A Raise
'Calenture is a superb experience. It knits together several distinct stories -- variously about a mother whose daughter is going far away, an elderly woman adrift on a desolate beach, a tender friendship between two young women on the cusp of adulthood -- until the final picture slowly, beautifully, crystallises. Franciska Ery's combination of devised theatre and scripted story is enlivening and totally original, bringing the text to life. Its cast is uniformly energetic and inspired. This is a curious and confident piece of new theatre.' Alastair Curtis on Calenture
'Director Franciska Ery showed her flare and expertise throughout the whole piece, so many moments were beautiful and delicate whilst others were grungy and comedic. This could have easily been a miss, however her direction showed no bounds and won the audience over within the first 10 minutes.'
Number 9 on The Marriage of Kim K
'The staging is certainly unique...masterful.....it works, it shouldn't, but it does'
North West End on The Marriage of Kim K
'captivating... refreshing, and unexpected[...] screamed like Kim’s Instagram for your attention, and it succeeded'
aAH! on The Marriage of Kim K
'It’s fun, fabulous, barmy, and relatable. An ordinary narrative delivered with extraordinary operatic passion.'
The Review's Hub on The Marriage of Kim K
'Director, Franciska Ery has melded her team into a well-drilled (and apparently happy) unit'
Quays Life on The Marriage of Kim K
'The whole evening is beautifully directed by Franciska Ery. The staging is fantastic throughout, never overdone and perpetually conscious of the space. [...] [T]his is a really interesting showcase of clever, moving and witty writing, delivered by some really strong performances and supported by fantastic direction'
thespyinthestalls.com on Reboot: Shorts
'A deceptively simple concept — a phone call, with a projection of the recording with sub titles, an attempt to map the rooms of her former home in tape on the floor while the recorded call is running. The power of the concept is in the way the listener/viewer is held within the authorial frame of the artist — who, at the same time, holds her family up for our imaginative viewing, through sound. I found it meticulously authored.' Professor Anna Furse, Goldsmiths on Home, taped