'...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
'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
'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
'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
photo credits to Ludovic des Cognets