"Stage Director Edward Franko's conception of the opera
was brilliant. creating a seamless flow for the drama."
"The staging by director Edward Franko -spare but with a
sense of urgency and immediacy captures much of the strength in the W.H.
"Stage Direction by Edward Franko was clean and free of contrivance."
"Edward cleverly manipulates the setting to provide often unexpected, comic relief.
He keeps the action on track so the audience really doesn't need to study the Italian opera's English surtitles too much."
Anglea Blackburn, Mississauga News review of Cosi Fan Tutte
"A clever Canadian spin by director Edward Franko. Franko's premise allows for lots of laughs."
Paula Citron, Opera Canada, review of Cosi Fan Tutte
"Edward Franko's vision was terrific."
Paula Citron, Classical 96 FM review of The Consul
"Stage Director Edward Franko made excellent use of the minimal and effective sets."
Robert deVrij, Opera Canada review of The Consul
"Stage Director Edward Franko has done a wonderful job of deploying people.
He found ways to stylize things where they ought to be stylized, and to be realistic where they have to be."
Richard Ouzounian, CBC Radio review of The Consul
"Edward Franko has a definite vision. He directed with a nice bit of economy and there was a nice sense of urgency."
Paula Citron, CFMX review of The Consul
"Songspiel was staged by tenor Edward Franko in a manner faithful to the Brechtian tradition.
Lee Ferguson, The Strand review of Mahagonny Songspiel
"Edward Franko's unfussy stage direction always found the humour in the work without gimmickry."
Christopher Hoile, Stage-Door.org review of Lucas et Cecile
"Edward Franko's staging, meanwhile, made you forget how small the Glenn Gould Studio stage actually is."
Tamara Bernstein, National Post review of Lucas et Cecile
"Director Edward Franko, making the most of minimal props, brings believability to the fakery. He maintains cohesion despite cuts."
Geoff Chapman, Toronto Star review of The Medium at Summerworks Festival
"Edward Franko’s insightful direction gave dramatic
shape to Anne’s inner thoughts."
"Halifax Summer Workshop staged Mark Adamo's Little Women in a heart-warming production well directed by Edward Franko."
"The new Canadian opera Frankenstein deserves a shelf life. TrypTych, the little company that could,
"Director and designer Edward Franko worked wonders in staging such a work on a microscopic budget.
"Artistic Director Edward Franko made the opera work by staging the narrative with simplicity and no surprises.
"Edward Franko (Goro) was also convincing as the mainly unscrupulous, but somewhat amusing, marriage broker. He also looked the part in his kimono."
Edward Franko is to be commended for his largely successful staging of Les Dialogues. He eschews a period setting for a contemporary one, and manages it quite well. An aristocrat enters haltingly, using a metal walker, as if the collapse of the social order has crippled him physically and emotionally. The prioress meets her death in a modern, if rudimentary, infirmary. The locales, indicated through lighting and a few set pieces, are not as well defined as they might have been, but most of his directorial choices are bold and effective. Breaking the proscenium and having his actors enter and even sing from the audience is particularly successful. His attention to the acting pays off superbly for his cast and for the audience; even the smallest roles embody some action or relation to a scene’s main players.
Director Edward Franko's frenetically paced action required precise movement as well as vocal and dramatic cohesiveness from the entire cast. There was not one weak link - the audience roaring with laughter as the Donati family preened and fawned their way through the one-act opera.
To prepare the performing edition for the present TrypTych production, Tenor and Director Edward Franko, the other Co-Artistic Director of TrypTych, had the difficult task of matching the words of Fuller's libretto to Sullivan's music since no score of the original Parliament survives. The result is a great success. Edward Franko directs the operetta with a keen sense of the currency of its comedy. It's dangerous to update a work revived for its historical interest, but no one will begrudge Franko's introduction of Timbits and double doubles into Butterbun's refreshment cart. Franko makes full use of the auditorium with many entrances an exits through the audience. Politicians hand out their business cards to the audience and Sir Samuel openly bribes the front row with (fake) cash.Christopher Hoile, Stage Door, Review of HMS Parliament, TrypTych Concert and Opera, Toronto