"Stage Director Edward Franko's conception of the opera was brilliant. creating a seamless flow for the drama."
Robert de Vrij, Opera Canada review of The Rake's Progress

"The staging by director Edward Franko -spare but with a sense of urgency and immediacy captures much of the strength in the W.H. Auden libretto."
Jon Kaplan, NOW Magazine review of The Rake's Progress

"Stage Direction by Edward Franko was clean and free of contrivance."
Robert de Vrij, Opera Canada review of The Medium

"Edward Franko’s insightful direction gave dramatic shape to Anne’s inner thoughts."
Christopher Hoile, Opera Canada review of The Diary of Anne Frank

"Halifax Summer Workshop staged Mark Adamo's Little Women in a heart-warming production well directed by Edward Franko."
Daphna Levit, Opera Canada review of Little Women

"The new Canadian opera Frankenstein deserves a shelf life. TrypTych, the little company that could,
has mounted the world premiere in a church basement on a miniscule budget, but director Edward Franko makes the opera work."
Paula Citron, Classical 96 Website, review of Frankenstein

"Director and designer Edward Franko worked wonders in staging such a work on a microscopic budget.
The performance was enthusiastically received."
Christopher Hoile, The Wholenote Blog, review of Frankenstein

"Artistic Director Edward Franko made the opera work by staging the narrative with simplicity and no surprises.
He created a playing area in cavernous hall by means of risers for the stage and baffles and curtains surrounding the audience to capture the sound."
Paula Citron, Opera Canada, review of Frankenstein

"Edward Franko (Goro) was also convincing as the mainly unscrupulous, but somewhat amusing, marriage broker. He also looked the part in his kimono."
Daphna Levit, Opera Canada, review of Madama Butterfly, Maritime Concert Opera

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.
Hugo Dann, Wayves.ca, Review of Dialogue of the Carmelites, Halifax Summer Opera Festival

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.
Dawn Marten, Opera Canada, Review of Gianni Schicchi, Southern Ontario Lyric Opera, Burlington

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