Après la répétition

Après la répétition: tg STAN’s grand theatre of emotions
With their complementary acting styles, Georgia Scalliet and Frank Vercruyssen stir up this typically Bergmanian maelstrom to ambiguity. As at ease as an impudent young actress as in the role of a ghost from a tormented past, Georgia Scalliet, now a member [sociétaire] of the Comédie-Française, responds fierily to the surly dryness of the Flemish actor, who once again displays his impeccable mastery of carefully polished dialogues. It brings the STAN season full circle – and how! 
Vincent Bouquet, Les Échos, 29 October 2018

Bergman’s Après la répétition: tg STAN’s grand cru at the Théâtre de la Bastille
And the theatrical illusion is gripping when, as if by magic, Georgia Scalliet turns into Rackel, the character’s egocentric and pitiful mother, an alcoholic and nymphomaniac actress battered and bruised by life and a shortage of work. Suddenly we find ourselves in another episode, a flashback which the magic of theatre transforms into a vivid and very moving present. Bergman adored actors, and actresses, with whom he had many love affairs. The two actors here are dazzlingly real, while preserving a lightness, a collected ‘coolness’ in their acting which is true to life.  
Hélène Kuttner, ArtistikRezo, 29 October 2018

Tg STAN: ‘Après la répétition’ or love and afterwards 
But the most impressive of the transitions is when the scene from the past between Vogler and Rakel switches to a scene in the present between Anna (so playing the role of her own mother) and Vogler playing Rakel’s lover (which he was). This is done as if by magic: the actress changes her shoes, pours a large glass of water over her head and says “It’s raining”. It then becomes a rehearsal scene between an actress and her director and it is ‘after’ this rehearsal that their relationship really blossoms. From rehearsal to love. Possible and impossible: “Ah, if only I was ten years younger”, Vogler sighs, a line written by Bergman and which Frank Vercruyssen pokes fun at while half fulfilling his wish. Slipped behind the title ‘Après la répétition’ is another: ‘Après l’amour’. The so-called rehearsal scene becomes a real act of love. This circling narrative style is a tg STAN trait, and here it reaches its climax.
Jean-Pierre Thibaudat, Mediapart, 29 October 2018

Après la répétition
Both give a dazzling performance of living theatre in the making, as if the words are being simultaneously written and spoken. This is a tg Stan trademark, and also the essence of theatre. According to a line in the script, it is a miracle that stems from the juxtaposition of three essential ingredients “an actor, a word and a spectator.”    
Froggy's Delight, October 2018

Après la répétition
With astonishing ease, we slip from one role into another, from one period to another, from one relationship to another, mother/daughter, theatre director/actor, from past to present, from proximity to distance, from the real to the imaginary and back again. The incredibly labile Georgia Scalliet embodies both the mother and the daughter in a fascinating game of reflections. One moment the daughter merges with her mother, who she says she hates, a once legendary but now has-been actress, a pitiful and poisonous alcoholic who desperately tries to win back the director’s love and respect and start over. At another moment the actress shows with her irrepressible energy just how different from her she is, claiming to be attracted to her partner herself. With great finesse and humour, Frank Vercruyssen plays the director who tries to maintain distance at all times, to avoid sentimentalism and the clichés and platitudes of bourgeois theatre, doing everything in his power to retain control of a situation which gradually slips from his grasp. He reassures himself with the objects, the table, the armchair and the chairs which have served in other situations and which are still loyal to their post. One cannot say as much of the actors and actresses – including himself – who cannot be held in check, whether playing their own role or that of another. Vertiginous!
Rue du Théâtre, October 2018

The theatre director and his actress
‘Après la répétition’ is a reflexion on art and on life and also a beautiful declaration of love to the actresses who we suggest you hurry along to see.
Isabelle Fauvel, Les Soirées de Paris, 2 November 2018

APRES LA REPETITION – Ingmar Bergman – TG Stan – Théâtre de la Bastille
Georgia Scalliett is very moving. Troubled and troubling, fragile and ardent, this member [sociétaire] of the Comédie-Française delivers an astonishingly natural performance, devoid of artifice and replete with essentials. The Pygmalion, Frank Vercruyssen, dependable and reassuring, solid as a rock, reassures and also fascinates. Both actors seem to be walking a thin but solid tightrope, both give the impression that they ‘are’, that they are only Henri and Anna, Henri and Raquel, Henri and Anna. There is a naturalness, an authenticity about them which, paradoxically, seems absolute and fragile at the same time. Fragile like the three ambiguous and troubling characters, absolute like the commitment and the talent they display.    
This play without a rehearsal reveals a pure naturalness and a natural purity: that of having witnessed one hour and fifteen minutes of crystalline grace. 
Théâtr'Elle, 8 November 2018  

Après La Répétition, Tg STAN pulls out all the stops 
Après la répétition is so immediate, so pared down, so devoid of all artifice -while allowing the artifices of the body, the word and the thought to come into their own - that the questions the actress and her opposite number ask have a rare clarity. And that requires magnanimous virtuosity which luckily they have in spades. A wonderful moment of theatre.   
Artichaut Magazine, November 7th 2018

‘Après la répétition’ after Ingmar Bergman
The transition is such a startling illusion that you lose track of what is true, what is false, if it is today, if it was yesterday. Let’s be quite clear, the lights won’t dim for the duration of the show. So when will it begin? And will it end? It has all the genius of tg STAN.  
Les 5 Pièces, November 2018

'après la répétition': don't miss it at Théâtre Garonne
Nicole Clodi, La Depêche, 29 March 2013

après la répétition
Agathe Raybaud, Le Clou dans la planche, 4 April 2013

We like to rehearse tg STAN
Pascal Bély, Le Tadorne, 6 October 2013

Along intimacy's tortuous paths
Sophie Badoux, Le Courier, 28 February 2014

tg STAN plumbs the depths of female nature
Marie-Pierre Genecand, Le Temps, 28 February 2014