The Tender Land
Opera Laurier, Wilfrid Laurier University

"Clean, Effective stage direction by Anna Theodosakis:

Stage Director Anna Theodosakis deserves much credit for the success of this production, especially her ability to match the simplicity and earthiness of Copland’s score. Her direction was clean and uncluttered and she allowed her artists’ facial and body language to convey much of the drama. Her realization of the drama addressed the conflicting emotions of its characters—love, longing, fear and ultimately, great personal strength."

- David Speers, Opera Canada 2018

dawn always begins in the bones by Ana Sokolović
Canadian Art Song Project, COC Ensemble Studio, and 21C Festival 

"Director Anna Theodosakis helped create a visual arc that seemed ingeniously linked to Sokolović's inspired sound palette."

"The space at the RCM allowed for more visual details, adding lighting and projected text to director Anna Theodosakis' ingenious work with the cycle."

- Jenna Simeonov, Schmopera 2017

"Sokolović’s music always seems to have dramatic potential and here that was realised extremely effectively by Anna Theodosakis to create a piece of performance art with many dimensions."

- John Gilks, Opera Ramblings 2017

Free Concert Series
at the Richard Bradshaw Amphitheatre
Photo: Karen E. Reeves
L'italiana in Algeri 


"I like an opera with ambition. Tonight I saw a production with style & wit whose chief ambition was to make us laugh: and it succeeded admirably because it was unafraid of sometimes being totally silly."

"I felt the greatest possible surrender to that impulse in this production, a fearless embrace of the wacky and the whimsical...Rossini’s creation of a theatre of marionettes, mechanical music and singing. Director Anna Theodosakis took this to the next level... it was executed with complete abandon and commitment. At times the movements & actions of the singers seemed totally koo-koo: which certainly helped create many laughs tonight."

"By framing the story early in this century with at least a hint of silent film via the projected titles, we were encouraged to sidestep the problematic issues one might observe in the original text, while turning instead to the era of the suffragette."

"I need to mention one of my chief sources of pleasure, in the stage configuration. By accident we chose to sit on seats immediately beside the stage...By sitting where we did, we were watching the show obliquely, often watching singers facing an audience who thereby deconstructed any pretense of an illusion. The silliness was right in our faces, within inches. I am a sucker for theatricality, and in this show Theodosakis required her cast to work harder, coping with those of us poised right beside their performances. At times singers had no choice but to include us in the action, which can be magical"

"If you can get there, go see The Italian Girl in Algiers because you might see a future star or two, because it’s musically excellent and yes, because it’s full of laughs."

- Leslie Barcza, barczablog 2017

"Anna Theodosakis chooses to set the work circa 1920s with an aesthetic that’s a mix of silent movie and stage farce.  It’s a very good choice.  The many complex ensembles are given stylized silent movie style gestures which are effective and it makes piano only accompaniment seem more appropriate.  There’s lots of very silly and funny artificiality and the final Pappatacci scene is appropriately gross; lacking only perhaps a wafer thin mint. All in all it’s well timed, a must for comedy, and briskly paced."

- John Gilks, Opera Ramblings 2017

"Theodosakis opts for charm in her production, and she maintains high stakes for the characters without letting the show as a whole take itself too seriously. She treated us to an overture full of shadow puppetry, giving us the gist of the action leading up to the first scene; it's hard to pull off the story of two sunken ships as comedy, but the combination of Rossini's peppy music...and Keshia Palm's puppet design seemed a winner."

- Jenna Simeonov, Schmopera 2017

The Rape of Lucretia 
Toronto Summer Music Festival 


"last night’s TSM production was brilliantly staged by Anna Theodosakis, a rising and talented operatic stage director...By giving the physical, believable acting an equal place along side Britten’s musical score Theodosakis achieved a visceral impact."

- David Richards, Toronto Concert Review 2016

"Anna Theodosakis...tapped into the chemistry of Char's Lucretia and MacNeil's Tarquinius very well, and her use of the Male and Female Chorus not just as an omniscient narrator but as actual forces that drive some of their choices was very successful."

- Gregory Finney, Schmopera 2016

"The drama itself gets a pretty crisp and dynamic’s tight, physical and right on the edge of violence when the guys are together."

- John Gilks, Opera Ramblings 2016

The Rape of Lucretia 

"...a clean, intimate, tasteful presentation of an incredibly sensitive and incendiary subject.

Director Anna Theodosakis set this Roman tragedy in mid-20th century wartime Rome. The intimacy of the space and the juxtaposition of the era's sense of prudence and propriety thrust the audience almost directly into the action. It was incredibly close and intimate and I think it added to the stressful undercurrent of the entire score. The male and female chorus guide us through the horrific unfolding of events, there is a clear point of view from a feminine perspective, but one that was nobly sympathetic to the weakness of the men who are the catalyst to all this indignity."

- Greg Finney, Schmopera 2016

"[the] relationships between the characters are deftly drawn.  The rape scene manages to be disturbing without being gratuitously graphic.  It’s skilful theatre."

- John Gilks, Opera Ramblings 2016

The Medium
UofT Opera

"beautifully detailed productions [by] Michael Albano (The Telephone) and rising director Anna Theodosakis (The Medium)"

"Bravo to director Anna Theodosakis on a great accomplishment with this production."

- Jenna Simeonov, Schmopera 2015

"Anna Theodosakis’ production was...effective with the interior/exterior comings and goings of the characters quite cleverly portrayed and the fake seancery fake enough, but not too fake"

- John Gilks, Opera Ramblings 2015

Choreography Reviews
H.M.S. Pinafore - UofT Opera

"From the very beginning of the overture we had members of the crew cavorting and dancing (Choreographer Anna Theodosakis) in a  manner perhaps owing more to Broadway than D’Oyly Carte and the better for it!"

- John Gilks, Opera Ramblings 2014

Orphée aux Enfers - UofT Opera

"The choreography (Anna Theodosakis) is lively and engaging and there are some really good movers in the cast.  It’s way better than most COC shows in that department. "

- John Gilks, Opera Ramblings 2016

Of Thee I Sing - UofT Opera

"Fluidly choreographed by Anna Theodosakis on a rotating stage, the set was sparse to accommodate large dance numbers fully committed to the energetic big Broadway choreography."

- Matthew Timmermans, Ludwig van Toronto 2018

Street Scene - UofT Opera

"Michael Patrick Albano’s production, coupled with Anna Theodosakis’ energetic and varied choreography, managed to keep the focus on the strengths of the piece and deliver a very satisfying evening at the theatre...Theodosakis’ fancy choreography, featuring multiple dance styles from tap to jitterbug, is well integrated and feels organic."

- John Gilks, Opera Ramblings 2018

"Another terrific number is “Moon-faced, starry-eyed” here...fabulously danced with plenty of flair by Caroline Stanczyk (Mae Jones) and Alexander Bowie (Dick McGann)...In fact, this show enjoyed excellent choreography by Anna Theodosakis, and the challenge was splendidly met by the fearless dancing of the opera singers — bravi tutti."

- Joseph So, Ludwig van Toronto 2018

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