“And there is little need for a set when the play begins with witches as majestic as these three: Aidan Cheng in white tulle skirt and black patent fetish shoes, Jeffrey Sangalang in white face paint and white cropped trousers with a white backpack bandaged to his body, and Simran Hunjun in a shoulder-padded red column that reaches to the floor. All three have dark, swollen, berry-coloured lips. […] Sangalang – now dressed entirely in red – breaks the neck of his quarry with a terrifying ruthlessness. Moments later Cheng appears in Macbeth’s castle to bring the news, carrying a red balloon that reads: “Congratulations.”
The Guardian / 27/11/2018 / Natalie Haynes ★★★
“The audience on the day were mainly school children, and in particularly, those of the primary age. None of those kids could take their eyes off the stage.”
www.broadwayworld.com / 30/11/2018 / Charlie Wilks ★★★★
“The witches are visually stunning. The first witch (Aidan Cheng, wonderful) wearing Geisha clogs, a skirt, a bare torso and the most grotesque smile. The second witch (Jeffrey Sangalang) resembled a hideous ogre with a hunched back and a crab-like motion across the stage. The third witch (Simran Hunjun) enveloped from neck to toe in a red rectangular body bag with only her head and jet black hair on show resembled a playing card from Alice in Wonderland. All three witches are compelling but Aidan Cheng is superb. His movements in his clogs are at once comical and simultaneously menacing and his smile is held for so long that it becomes sinister and indeed terrifying. He is undoubtedly the most memorable witch I have ever seen.”
London Theatre 1 / 24/11/2018 / John O’Brien ★★★★
“The three witches, in costumes that look like a modernist painting come to life, are
exeunt / 20/11/2018 / Hailey Bachrach
“If the Weird Sisters are evil, rather than spiritual, we have a play about power, and it can be difficult to relate to the greedy schemers. If the Sisters are witchy rather than political, we have a play about magic and spirits, and it all seems a bit whimsical. For my money, NYT REP company get it bang on target. Aidan Cheng, Simran Hunjun and Jeffrey Sangalang are equal parts bizarre as they are terrifying. Cheng is a topless, face painted, tutu-wearing comedian, alongside Hunjun’s enormous, red, rectangular cylinder of a dress. A mad mix of Machiavelli and magic.”
https://www.lastminutetheatretickets.com / 1/12/2018 / Thomas Froy ★★★★★
“The inventive set serves Stamatis Fasoulis’ brilliant direction by creating a fluid space between Jasmine’s different worlds, so that the past and the present ingeniously mix and become equal in their narrative weight.”
“Ευρηματικά σκηνικά τα οποία εξυπηρετούν την εξαιρετική σκηνοθεσία του Φασουλή, η οποία ρέει αρμονικά μεταξύ των εναλλασσόμενων κόσμων της Jasmine, έτσι ώστε το παρελθόν με το παρόν να αναμειγνύονται ιδιοφυώς, έχοντας την ίδια βαρύτητα στην αφήγηση.”
http://www.sinwebradio.com / 11/11/2018 / Έλενα Χατζοπούλου
“The set is modern and minimal and designed in such a way that they keep changing with the use of a revolve. In effect, in a matter of seconds we find ourselves in homes, offices and shops. The music, set and direction, trully take this show to new heights.”
“Tα σκηνικά της παράστασης ήταν μοντέρνα, λιτά και έτσι σχεδιασμένα ώστε να μετατρέπονται και να αλλάζουν σε κάτι άλλο απλά με μια περιστροφή. Έτσι την ίδια στιγμή, με κάποια δευτερόλεπτα, βρεθήκαμε σε σπίτια, γραφεία, καταστήματα. Η μουσική, ο ήχος και τα σκηνικά,μαζί με τη σκηνοθεσία πραγματικά απογειώνουν την παράσταση.”
https://www.beasty-press.com / 2/11/2018 / Βούλα Βαθίστα
“minimal and atmospheric sets”
“λιτά και ατμοσφαιρικά σκηνικά”
http://www.real.gr / 9/11/2018 / Βάνα Στέλλου
“Minimal, beautiful sets that transformed in seconds”
“Λιτά, όμορφα σκηνικά που εναλλάσσονταν γρήγορα”
www.noizy.gr / 3/11/2018 / Μαίρη Ζαρακοβίτη
“Stamatis Fasoulis’ direction as Mayou Trikerioti’s set was highly inventive. One space folds into another while simultaneously one is very different to the next. The transitions from one scene to the next […] resemble that of watching a film. The scene changes happen so fast that never tire -on the contrary, they incite the interest of the spectator.”
“Η σκηνοθεσία του Σταμάτη Φασουλή, όπως και τα σκηνικά της Μαγιού Τρικεριώτη είναι ευρηματικά. Το ένα μπλέκεται στο άλλο και παράλληλα το ένα ξεχωρίζει από το άλλο. Η μετάβαση από την μια σκηνή στην άλλη, αλλά και η κίνηση των ηθοποιών, θα μπορούσαμε να πούμε ότι θυμίζουν κινηματογραφική ταινία. Οι εναλλαγές των σκηνών είναι τόσο γρήγορες που δεν κουράζουν τον θεατή. Αντιθέτως, κεντρίζουν ακόμα περισσότερο το ενδιαφέρον του. Ο Σταμάτης Φασουλής με τη μοναδική του σκηνοθετική ματιά μας χαρίζει μια ανεπανάληπτη και ξεχωριστή παράσταση.”
https://www.maxmag.gr / 8 Νοεμβρίου 2018 / Χριστίνα Γεωργιάδη
“Το σκηνικό της Μαγιού Τρικεριώτη ήταν άκρως λειτουργικό δίνοντας λύσεις στις εναλλαγές των σκηνών.”
http://www.texnes-plus.gr / 5/12/2018 / Γιώτα Δημητριάδη
"We also see everything she sees; the yellow walls of the deceptively simple set designed by Mayou Trikerioti really do change significantly in appearance under Clancy Flynn’s lighting, and stretch in undeniably sinister fashion to allow glimpses of a figure pressing through from the other side. The fact that we share this vision suggests it isn’t only Alice’s paranoia, and perhaps there really are other forces at work."
The Yellow Wallpaper
"Isolation figures prominently in both the story and Mayou Trikerioti's set that comprises a simple box-like room that stands apart in the middle of the acting area - almost like a doll's house sitting on a table. Though the walls are indeed covered in yellow wallpaper, the fabric neatly stretches as hands of an unknown person (or presence) press in from the exterior and mood changes are indicated with effective blue lighting."
The Yellow Wallpaper
(the deceptively simple set is by Mayou Trikerioti, who somehow finds a shade of yellow that really does change with the light from almost a colour a human might intentionally use to a shocking sickly greenish hue)
The Yellow Wallpaper
Haileu Bachrach / 8/6/2018 / http://exeuntmagazine.com
"Mayou Trikerioti provides an artfully clean set design consisting of a room containing a chaise longue and decorated with sinister yellow walls that disconcertingly change shade and texture according to the lighting, to which Alice develops a kind of Stockholm syndrome in spite of herself."
The Yellow Wallpaper
Julia Rank, The Stage https://www.thestage.co.uk
"In this new production, with end-on staging, the audience is more remote and separated from the action, and Mayou Trikerioti's design introduces a wooden, slatted structure behind the action which is far too sparklingly clean, painted as it is in brilliant white, and lending a modern, clinical feel to proceedings.
It doesn't suggest the austerity or bleakness of the period (or the rather dour interior design of hospitals of the 1940s) and there's more clean white in both the hospital bed and the porter's trolley which Wittgenstein laboriously pushes around."
The Yellow Wallpaper
"Compliments are due here to Rachael Murray (Sound), Clancy Flynn (Lighting) and Mayou Trikerioti (Set) for terrific production design, in which the sound, the lighting and the set continually worked together in subtle harmony."
The Soul of Wittgenstein
Rebecca Crankshaw / 9/2/2018 http://thespyinthestalls.com
"Setting by Mayou Trikerioti is refreshingly spartan. The abstract wooden backdrop lifts the characters right off the stage, whilst the bashed up metal side table and bed frame do an excellent job of immersing you in a 1940s hospital.
The Soul of Wittgenstein
"The set, representing a ward in Guy’s Hospital during World War II, is very well put together by Mayou Trikerioti: white wooden slats make an abstract design over the stage, suggesting the sterile surroundings without resorting to bare realism, and it works to Dave Spencer’s direction with efficient purpose."
The Soul of Wittgenstein
"Director Dave Spencer keeps the action near to the front of the stage which gives a nice sense of intimacy and really allows the audience to feel like we are in the room – great set design by Mayou Trikerioti – with the two men as they banter off each other. And banter they do."
The Soul of Wittgenstein
"Within, a hospital bed and its patient are already on the stage in the semi-blackout framed by an abstract, white, slatted set.
The set and props give sufficient detail to provide a legible hospital context while leaving nothing over-fussy."
The Soul of Wittgenstein
Tim Hochstrasser / 11/2/2018 / https://playstosee.com/soul-of-wittgenstein/
"It is worth noting the set design by Mayou Trikerioti and the background music by the likes of Billie Holiday, which support the play in the most effective way, and the audience are made to feel they are in a 1940s hospital through the use of old medicine flasks. Moreover, the sensation of time passing by through light and sound effects is impressively achieved."
The Soul of Wittgenstein
Ella Navaro / 10/2/2018 / https://www.theupcoming.co.uk
"Rebecca Johannsen’s Women at War is derived from interviews with a number of women who were part of that unit in 2012-2013. It takes the form of a vivid monologue spoken by one woman character against a striking set designed by Mayou Trikerioti."
Women at War, Review by Keith Mckenna / http://www.britishtheatreguide.info
"Mayou Trikerioti's revolving set pieces ensure an almost magical agility on the key transformations of space and place."
Annie Koltsidopoulou on How to Hold Your Breath, Kathimerini, 2017
"Τα περιστρεφόμενα σκηνικά της Μαγιού Τρικεριώτη εξασφαλίζουν σχεδόν μαγική σβελτάδα στις καίριες μεταμορφώσεις χώρου και τόπου." Άννυ Κολτσιδοπούλου
"The extremely talented Mayou Trikerioti with a versatile and very effective set -a 'triangular' stage that punctures the auditorium like a raft, and mirrors ... - lit with dexterity by Sakis Birbilis, plays a decisive role in the impeccable performance of the show."
Yorgos Sariyiannis, Tetarto Koudouni, on How to Hold Your Breath, 2017
"Η εξαιρετικά ταλαντούχα Μαγιού Τρικεριώτη με τα ευέλικτα, λειτουργικότατα σκηνικά της -η «τριγωνική» σκηνή που διεμβολίζει την πλατεία ως σχεδία, οι καθρέφτες…-, φωτισμένα με την επιδεξιότητα του Σάκη Μπιρμπίλη, αποτελεί τον αποφασιστικότερο παράγοντα για την άψογη λειτουργία της παράστασης."
"To [the director's] side, Mayou Trikerioti, her minimal design is enviable, and a surprise reserved for the finale ... steals the show."
Vasilis Bouziotis on How to Hold Your Breath, Enikos, April 2017.
"Αρωγοί του η Μαγιού Τρικεριώτη-το λιτό σκηνικό της είναι ζηλευτό, αλλά η έκπληξη που μας επιφύλαξε στο φινάλε ...έκλεβε παράσταση-..."
"So much careful attention to detail.[ ...] Mayou Trikerioti’s evocative and versatile set and costumes that effectively define the myriad characters we meet along the way, without involving elaborate changes or short-changing us visually."
on The Tree House, 2016
"M. Marmarinos opposed the female sexuality in all its splendour to the phallus. The actors, with see-through and diaphanous revealing garments, without underwear, stood face to face revealing their "weapons" (meticulously detailed costumes by Mayou Trikerioti). In the Paravasis in fact, they took off even those and were left naked. "But first, let us do what Aristophanes says: take off all that we wear," urged Lysistrata. "I was born a woman. Do not envy me for that, if that helps steer things to the best for the city." Nakedness, originally discussed as the "peppery" element of the show was the least that finally concerned the audience, since it was organically tied to all, not at all risqué and very elegant . "
Ethnos Newspaper, on Lysistrata, 2016
"Mayou Trikerioti crafted the costumes with inspiration, imagination and a lot of talent."
Yiota Dimitriadi, 4/9/2016 on Lysistrata, 2016
"The costumes : Mayou Trikerioti fully implemented the words of Aristophanes 'saffron and myrrh, unbelted gowns, lipstick and transparent veils' and created for each and every one of the women unique transparent garments -the only thing they wore throughout the show- which at the same time highlight the personality of each actor and character. For several hours after the show, and the next day, the red, the blue, the one with the flower, the different costumes lingered in the mind.
Olga Sella, 9/8/2016, monopoly.gr on Lysistrata, 2016
“Τόσο η όψη (σκηνικά: Γιώργος Σαπουντζής, κοστούμια: Μαγιού Τρικεριώτη) όσο και η κίνηση –σαν σε έναν ήμερο ίλιγγο – του Χορού (Χρήστος Παπαδόπουλος), με την πλαστικότητα και την αγαλμάτινη υφή τους, το σώμα κοινωνούν και υμνούν. Ο Μαρμαρινός επικυρώνει έμπρακτα μια αρχή του: «Το βλέμμα είναι το συστατικό της υποκριτικής. Ο ηθοποιός βλέπεται αλλά και οι θεατές βλέπονται από τον ηθοποιό. Αρχή διαλόγου».”
Ιλειάνα Δημάδη , Αθηνόραμα, 19/9/2016
“Το δέσιμο τόσων διαφορετικών προσωπικοτήτων, τόσων διαφορετικών σωμάτων μισοκαλυμμένα – μισοακάλυπτα στα πολύχρωμα υφάσματα της Μαγιού Τρικεριώτη, εκτεθειμένων στο μάτι του θεατή, λικνιζόμενων γοητευτικά αλλά και εξόχως κωμικά ενίοτε υπό την καθοδήγηση του Χρήστου Παπαδόπουλου, προκαλώντας την περιέργεια, τις αισθήσεις και το μυαλό –όσων δεν προκάλεσε και τα παραπάνω τρία ο ορίζοντας είναι περιορισμένου βεληνεκούς- ήταν όχι απόλυτα ευθυγραμμισμένο και συνεπές, ωστόσο όμορφο στην ποικιλότητά του.”
“Γυναικών σχεδόν ολόγυμνων, με διάφανα ως επί το πλείστον ευφάνταστα φορέματα διαφορετικής ραπτικής, χρωμάτων και σχεδίων (της Μαγιούς Τρικεριώτη), που εισέρχονται στη σκηνή ακολουθώντας τους ρυθμούς του πιάνου, με μικρά βηματάκια και τεράστια χαμόγελα από τα βαμμένα κόκκινα στόματα. Ως μάσκες. Γυναίκες διαφορετικών σωματότυπων τους οποίους σέβονται τα κοστούμια, με ψηλοτάκουνα χρωματιστά παπούτσια, που δημιουργούν ένα παραξένισμα καθώς μένουν βουβές, ως ακόλουθοι σε μια ιεροτελεστία.”
“Οι γυναίκες –ρόλοι και χορός μαζί- μπήκαν στη σκηνή όπου από νωρίς μια γυναίκα με καπέλο στολισμένο με φρούτα έπαιζε στο πιάνο (η Λενιώ Λάτσιου, επί σκηνής σε όλη τη διάρκεια της παράστασης). Φορούσαν αραχνοΰφαντα, δαντέλες, πέρλες, είχαν κόκκινα στόματα, ψηλά τακούνια, περίτεχνες μπούκλες, ηδυπάθεια. Περπατούσαν και λικνίζονταν, κοιτούσαν το κοινό, έκαναν αργές περιστροφικές κινήσεις. Σαν για να μας επιδείξουν τα κάλλη τους, αγάλματα που δοξάζουν το κάλλος, αλλά όχι ακίνητα. Με ροή: όπως ο έρωτας. Ολόγυμνες, τα σώματά τους εκτεθειμένα στους χιλιάδες θεατές κάτω από διαφάνειες. Οι γυναίκες που θα σταματήσουν τον πόλεμο, ανοχύρωτες και μαζί πανίσχυρες.”
Katerina Anesti / Protagon.gr / 6/6/2016
“Όπως λειτουργικά –με όλη της σημασία της λέξης– ήταν και τα κοστούμια που σχεδίασε η Μαγιού Τρικεριώτη. Διευκόλυναν όλες τις ηθοποιούς να βάλουν στην άκρη κάθε τους αναστολή. Ακόμη και το γυμνό το παρουσίασε με τρόπο κομψό και καθόλου χυδαίο. Χυδαία τα είδαν μόνο όσοι έτσι ήθελαν να τα δουν. Πιο πολύ εγώ είδα πινελιές χιούμορ κι απομυθοποίησης παρά πρόκλησης.”
http://www.catisart.gr 10/8/2016 Panayiotis Milas
"...the staging is effective with different levels used throughout. Mayou Trikerioti's set design includes red lights that splinter the girders at different points in the play underlining the plot and bringing out the themes of desire, death and destruction.”
Remote Goat on Macbeth, 2011
"Five Stars alone are due to the designers of the simple set and the expressive mood-setting lighting and sound. You'll find out what a bane-moon looks like."
By David Kerr on Macbeth, 2011
"The highpoints: Real credit goes to the art direction of the play. The costumes and sets are entirely in black, red, and white. The sets, while minimal, are highly effective. Keep an eye on the full moon as the play progresses."
Gregory Mersol on Macbeth, 2011
“The slanting walls looming (set design by Mayou Trikerioti) is very successful. An american living room, free and ready to be interpreted as an ecumenical space, almost alluding to Beckett..”
Y. Varveris Kathimerini on Who's Afraid of Virginia Woolf, 21/01/10
“Finally Mayou Trikerioti's exquisite work: by recreating a 'fake' -in the way of the American sitcoms of the '80s- triptych (kitchen-lounge-bedroom), she composes a universe that is 'cheap', colourful and yet creepy."
L. Arkoumanea on The Walwath Farce, To Vima, February 8 2009
“Mayou Trikerioti designed a space which captures with great clarity the claustrophobically embellished world of the play itself, while at the same time it proves the cynically poetic glance, of this young but mature and highly original designer.”
I. Dimadi on The Walwath Farce, Athinorama, December 25 2009
“these three creatures find completion by the costumes of Mayou Trikerioti”
A.Tzavella on Blood Enemies, ET, 2/11/2008
“This ‘visceral’ thriller was decisively marked by the ingenious set, designed by Mayou Trikerioti.”
V. Angelikopoulos, on Blood Enemies, Kathimerini, November 9 2008
“A dark world of anguished body organs, placed with rigid economy or rather with a Fauvistic nakedness by M. Trikerioti in a space of bodily depths with hovering Damocles-sword-like organs. Her costumes were successfully alluding to their bearers.”
J. Varveris, on Blood Enemies, Kathimerini, November 16 2008
“…MayouTrikerioti’s design had a cunning madness: a huge red mattress with a series of white spine-like spring-boards, while the muscles and spleen hung like punch bags.” I. Dimadi on Blood Enemies, Athinorama, December 2009
“The scenic space that Mayou Trikerioti designed is magnificent…”
I. Dimadi on Ghosts, Athinorama, July 2008
“In the atmosphere of a Protestant church/court of law, created by Mayou Trikerioti, the audience
quite like a congregation, sat in two groups facing each other, observing these monsters disguised as bourgeois.”
G. Ioannides on Ghosts, Eleftherotypia, August 16 2008
“… all this takes place within the minimalist but critically powerful set (by Mayou Trikerioti). Three scalene ladders serving for going up in the sky or descending to Hades and alluding both to a prison and to a Crucifixion.”
J. Varveris on A Season in Hell, Kathimerini, November 4 2007
“The suggestive set designed by Mayou Trikerioti, the ladders as symbols of the psycho-intellectual and erotic ‘Golgotha’ as well as the ‘descent to Hades’, summarized the 38-year long life of Rimbaud and contributed to the dense atmosphere of the play…”
Thymele on A Season in Hell, Rizospastis, October 24 2007
“Mayou Trikerioti’s set and principally the costumes of the production are a great plus, as they alone tell the story of each heroine.”
G. Evangellatos on Nordost, October 2007
“This perfectly crafted cage-box break room for the workers of a pharmaceutical at first glance connotes a filthy fast food shop, but with its stark lighting makes the perfect place for the anatomy of an old crime...”
Greek Theatre on Blackbird, 21/1/2007
“The play was done justice by the [...] costumes and the beautiful and imaginative set by Mayou Trikerioti (two convergent and collapsing -out of loneliness and time- interiors, two mirroring rooms with a distraught armchair and table each)...”
Rizospastis, on The Small Things, 23/08/2006
“the set and costumes impeccably served the three beckett plays”
Thymeli on Beckett's Not I, Rockaby and Act Without Words, Rizospastis, 19/07/2006
“great lighting design on the minimalist set and the high aesthetic value of the costumes by the always able to create so much out of nothing Mayou Trikerioti...”
G. Sarigiannis on City on its Knees, Tachydromos, 2006
“The show stays close to its origins, the Camera Oscura, which Mayou Trikerioti re-created accurately and minimally, with bidonville furniture. […] I should finally praise the dynamically tattered transformations of the actors.”
Y. Varveris on City on its Knees, Kathimerini, 2006
“The director made good use of the play and of the intriguing paper-made set (Mayou Trikerioti) by emphasing the almost ‘childish’ innocence of both.”
E. Petassi on The Red and Blue Skates, Naftemboriki, 2006
“This wonderful set, designed by Mayou Trikerioti, emits precisely the tonal narrative of the author –this modern combination of realism and naïve art, this poetry reminiscent of popular quatrains on the wall calendars of the ’50s, imbued with an almost imperceptible melancholy…”
G. Sarigiannis, on The Red and Blue Skates, Tachydromos, 2006
“Mayou Trikerioti has played with antitheses in stage depth. By creating a nameless, forsaken, lower middle class space, a sort of open-air public prison, an almost Beckettian landscape, reminiscent of the undefined space of Waiting for Godot (there’s even a solitary tree at one end!), the irrationality of a chance encounter can easily turn into something unnervingly common.”
K. Georgoussopoulos, on The Red and Blue Skates, Ta Nea, May 22 2006
“[The play’s] superb rhythm, humour and its imperceptible melancholy materialise in the ideal, austere and linear set -a big white bed, three rectangular frames surrounding it and a delicate screen running images of water, one of Carver’s light-motif.”
G. Sarigiannis on So Much Water, So Close to Home, Taxydromos, 2006
“The decisive dynamic economy of M. Trikerioti succeeded in perfectly combining six different spaces in three metamorphosing surfaces.”
Y. Varveris, on The Sexual Neurosis of Our Parents, Kathimerini, 18/12/2005
“In M. Trikerioti’s white set, the clinical coldness and alienation of everything that happens takes on the appropriate imagery depending in the “natural landscape” of each scene.”
A. Vilaettis, on The Sexual Neurosis of Our Parents, City Athina, 1/12/2005
“Trikerioti gave a very theatrical solution to the riddle of the play’s use of space...”
M. Damianidou on The Sexual Neurosis of Our Parents
“A staging of high standard by all [...] and Mayou Trikerioti’s set design (a space cold like a morgue, but flexible and with integrity) along with her cared-for-up-to-the-last-detail of a shoelace costumes.”
G. Sarigiannis on The Sexual Neurosis of Our Parents, Tahydromos, 27/11/2005
“in a stage space having the cleanliness of a operating room, all details spring up heightened: the shadows of the characters and the thoughts behind each word take on an unbearable transparency.”
D. Anagnostou on The Sexual Neurosis of Our Parents, Athens Voice, 1/12/2005
“The ‘dance of the stage directions’ is imaginative and light, essentially the only scenographic ‘exaggeration’. The rest of the design is completely stark, white and empty: the tabula rasa on which all the colours of the rainbow shall explode simultaneously.”
L. Arkoumenea on The Sexual Neurosis of Our Parents, Vima, 22/01/2006
“Mayou Trikerioti’s stage set played creatively with the decay in this suffocating interogation room.”
M. Triantafyllou on The Pillowman, Epochi, 31/12/2005
“Mayou Trikerioti’s contribution [with the set and costumes] is decisive.”
G. Sariyiannis on Drowned World, Tachydromos, 2005
“In Roes theatre one is presented with a very interesting stage production. And that because of the exceptionally tasteful and impressive, in its simplicity, stage design of Mayou Trikerioti who also designed the beautiful costumes.”
Thymeli, on QED, Rizospastis, 17/11/2004
“Mayou Trikerioti conceived the office of Feynman-the-“Anarchist” as an anarchic world of books and bookshelves, blackboards covered with notes, and a carefully studied blend of ‘random’ objects: she thus tried to capture the psychographic dimension of a multi-faceted but at the same time simple and messy space of a genius.”
Y. Varveris on QED, Kathimerini, January 30 2005
“… the beautiful set, designed by Mayou Trikerioti, reproduces faithfully the atmosphere of Feynman’s office. You can almost breathe in the scent of piled up sheets of paper.”
Th. Koutsis on QED, Athinorama
“Lefteris Voyatzis rightly based his directorial interpretation [...] on the wonderfully magnificent stage design by Mayou Trikerioti.”
G. Pefanis on Crave, Highlights, 2004
“The four conversationalists, standing up on their very private minuscule floorspace, all around them tarkovskian humidity, purple, green and grey, colours of rottenness and gutters...”
S. Matziri on Crave, Eleytherotypia, 2004
“Mayou Trikerioti’s humid stage nears the non-space of the play as an internal space, an antechamber of hell”
E. Marinou on Crave, Kyriakatiki, 2004
“Maybe the most sensual attribute of the production is in the end the watery floor of stage designer Mayou Trikerioti; the thick repulsive seaweed moving endlessly in the water at the same time that the characters stay almost immobilised on the tiled islands of their seclusion”
S. Loizou on Crave, Vima, 07/12/2003
“Mayou Trikerioti’s sets as much as the costumes, are wonderful.”
Rizospastis on Crave, 3/1/2004
“It is an artistic miracle ideed, the anthropologically and sociologically symbolic set design by Mayou Trikerioti. A wet landscape, with four ‘isles’, one for each character, remains of the floor of a house and by proxy of modern society, isles of unbridged loneliness which are underlined by the foggy lighting design...”
Thymeli, on Crave Rizospastis 14/1/2004
“Designed by Mayou Trikerioti, the inspired set was a surprise which stole the show.” V. Bouziotis on The Barber of Seville, Ethnos, August 17 2003
“...the playfull and ambigously houmorous directorial line was supported and annotatedby the cosmopolitan modern set and hypermodern costumes of Mayou Trikerioti...”
Thymeli on The Barber of Seville, Rizospastis, 24/09/2003
“The set and the costumes are created by the young and promising Mayou Trikerioti.”
I. Dimadi on The Barber of Seville, Athinorama 2003
“...and the fluid, truly exquisite work of Mayou Trikerioti on the set and costumes.”
K. Georgousopoulos on The Professional, Nea, 29/04.2002
“the really young designer M. Trikerioti chose wisely to use the slanted abstract arrangement of this beaurocratic setting, soas to sabotage the realistic facade of the play.”
Y. Varveris on The Professional, 12/05/2002
“A great asset to the production is the set designed by Mayou Trikerioti. An austere space with a twisted Kafkaesque perspective, which more than anything else captures the very essence of the play.”
G. Sarigiannis on The Professional, Tachydromos, April 13 2002
“...the multi-leveled sets, the theatrical concept and the coloured pallet of this new stage designer (M.Trikerioti), makes her someone to look out for.”
A.Koltisdopoulou on Lulu, Gynaika, February 2002
“The set design was entrusted to the new and, as it seems, talented and capable young designer Mayou Trikerioti to create -in two levels- a mutliset comprising of many suffocatingly small spaces whilst alluding to a dollhouse.”
G. Sarigiannis on Lulu, Tachydromos, 02/02/02