"Franziska Junge blew me away, so authentic, so self-assured in her
and so fragile and humanly delicate and sensitive, so lonely and inwardly distant, as Marilyn probably was." (spectator after MAKING OF::MARILYN)

"It's Franziska Junge as air spirit Ariel who is pulling the strings. Her prologue is a sketch on the piano as if by Jerry Lewis. Her magical masterpiece is the final orgy of blind lust. The air spirit Ariel is in as good a shape as his colleague Puck from the fairy kingdom." Darmstädter Echo (THE TEMPEST)

"Franziska Junge only needs a handful of gestures to give the intrigue-spinning Önone a striking face." Prinz (PHAEDRA)

"Franziska Junge plays her as a large-caliber salon mega-maid, a queen as if she had crawled out of the gutter: immoderate, vulgar and merciless in her
perpetual feeling being hurt. She has long since given up trying to turn her murder pit into a heart, and when her daughter expresses her deadly wish, she believes she has achieved her goal of revenge. And now, while Herod lists and presents all his riches Franziska Junge begins to look at the eight high steps (...) alternately bathed in blood red and deep black - writhing like a lizard, slow as slow motion, the body lustfully rubbing against the ground, the legs legs splayed, rump on display, until she has arrived, at the top, at the climax, where the pale drum of the moon is waiting, which she mounts in order to ride on it, legs apart. It
is the highest pleasure and the coldest of the evening." Frankfurter Allgemeine Zeitung (SALOME)

" Franziska Junge as the air spirit Ariel not only enchants the characters on stage, but also the audience in the auditorium. "
Peter Paul Huth, 3sat (THE TEMPEST)

https://www.franziskajunge.de/press