THE DAUGHTER OF THE STORM | 2011
"A production with limited means and many volunteers [...] with enthusiasm as the dominant quality. [...] The music was inventively and succesfully arranged for a small ensemble by Kharálampos Goyós, without compromising the essence of the material." Nikos Dontas, Kathimerini
"Efklidis succesfully transferred the action to the present, giving to Sakellaridis's operetta from the 20s an appeal comparable to the well-known [Greek] TV show that mercilessly cannibalized the myriad contortions of the contemporary Greek family. [...] Goyós's reduced orchestration faithfully transcribed the essence of Sakellaridis's original, securing at the same time a contemporary touch to the result. [...] The revival posed several interesting, serious issues ripe for discussion, and practical questions to be answered." Yannis Svolos, Eleftherotypia
"Kharálampos Goyós [...] succesfully arranged and conducted the eight-piece orchestra, constantly alert and developing a 'playful' dialogue with the prose. [Alexandros] Efklidis didn't just revive the forgotten genre; he rekindled it, offering spectacular stage action that verged on the musical and shedding the tiresome, nostalgic dimension of the genre. [...] Excellent performances [...] and three cheers [...] for the imaginative coiffures and wigs!" Katerina Diakoumopoulou, Avgi
"I found their idea of a... total recall on stage [...] of this forgotten, not to say unknown, operetta by Sakellaridis extremely interesting. [...] The musical part was excellent [...]." Yorgos Sarigiannis, Ta Nea
"Sakellaridis's operetta fell in good hands with the theatre group The Beggars' Operas. [...W]onderful aesthetics of the set and costumes." Stylianos Tziritas, avopolis.gr
"'The Daughter of the Storm' was undermined [...] by the outlandish orchestration, that removes the 'nostalgic', period sound atmosphere, so familiar and valuable [...]. While the minimally interventionist stage direction [...] did not betray the theatrical style of the operetta genre without overstating (thankfully) the farcical element, the orchestration remained paltry and incongruous [...]." Kyriakos Loukakos, Avgi
"A team of actor-singers and chorists with extremely cultivated voices seemed adrift on a stage full of ghastly sets and costumes [...], helpless, through miscasting or absence of serious direction, they did whatever came into their head, more reminiscent of a third-tier movie farce than serving Sakellaridis's high aspirations. Thankfully, there was there [...] Mr. Kharálampos Goyós, who gave us the sense of operetta with extremely limited means. [...] Mr. Loukos should be more careful with what he presents at his costly, in a time of crisis, festival [...]." Iason Triantafyllidis, Adesmeftos Typos