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PRESS_________________________ Feminine magazines may seem as collections of jokes after this performance. In Make-up Opera every “open” monologue is repeated three times – on behalf of three different characters. This is how magazine-like “openness” is emphasized, although in reality, it’s sheer idiotism. (…) Make-up Opera seeks to dethrone the make-up of words we use without even thinking that it’s only a mask. By Rūta Oginskaitė. Pleasure of Creation Flourishes in Make-up City. (Lith. Grimo mieste suklestėjo kūrybos malonumas). Lietuvos rytas/Mūzų malūnas. 28-02-2006
The most powerful moments of the opera are the combination of sound with visual material, when the monitor shows a city with skyscrapers of lipsticks, tubes, make-up and perfume bottles. A peculiar apocalyptic film noir or the new “metropolis” evoking existential fear that you are already living in the panopticum of make-up and images. By Vaidas Jauniškis. The Fall of Skyscrapers of Image (Lith. Įvaizdžio dangoraižių griūtis). Verslo žinios, 03-03-2006
With great pleasure did the spectators observe every new frame and follow every word. Neither the music, nor the mastery of the actors is the most interesting thing here, but rather the triumph of irony. By Marta Vosyliūtė. A Thin Line of Make-up (Lith. Plonytė grimo linija). Kultūros barai, No. 4, 2006
With time characters grow old (and so do the actors in pictures projected onto the back-wall) and thicker and thicker layers of make-up cover not only their faces but also their lives: they play themselves turning back to their past with dozens of admirers, breathtaking career heights and the make-up room full of various instruments. By Julija Fomina. On Make-up or Some Dissections of Naturalness (Lith. Apie grimą arba keli natūralumo skrodimai). www.menufaktura.lt
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