A Moment of Silence’ is a remarkably charming performance where Hestnes / Popovic with simple, but surprising means tell us something essential about being human.
Just like many small streams make up the river of history , the performance is built on layers of anecdotes, trustworthy trivialities, everyday happenings, often with a dramatic backdrop. In this way they succeed in a serene, notably gradual, astonishingly seamless and incredibly elegant way, to build all the small bricks that together make up the big story, our common story.
A school in good dramaturgy.
        Amund Grimstad, Klassekampen, november 2019

It is easy to like them, it is almost as if the performers and the audience already know eachother. (...) Jumping between storytelling and the interactive, physical coffee-layer renders  A moment of silence dynamic and unpredictable. WIth their good stage presence and their personal gaze on historical events, Hestnes/Popovic leads the audience steadily through the performance. (...)  it is obvious that Hestnes/Popovic is working on a fruitfull project across single performances and it will be interesting to follow the duo in the future.
         Eline Bjerkan ved, 27.11.2019,


In There is a Noise, from Danish and Norwegian theatremakers Freya Sif Hestnes and Marina Popovic, a casual conversation between friends became a potent exploration of memory and identity.
            Flossie Waite and Luke Billingham, Take Off Festival 2019 (UK)

Without sentimentality, There is a Noise works silently into a kind of major history writing, expressed through these young women’s bodies, memories and representations of their families. (...)in its modest appeal, the two women establish relationships between now and then, between the different stories that define Europe.
             Theresa Benér. Det Frie Felts Festival 2018 (SE/DK) 

The audience sits together with the actors around a table full of little war figures, while the performers are frying waffles. The smell, in this context, create an ambiguous feeling and open up for sprawling associations. Here, the different senses can create intuitive associations that can engage and involve in a physical, sensorial way. So that the audience can relate to the material from their own experiences.

            Henriette Stensen, Periskop. SAND Festival 2017 (NO)

The performance had a personal and down-to-earth quality which was suitable, the serious theme taken into account. (...) The strength of the performance lies in its ability to present historical events through various personal interpretations and experiences, and to be able to create multiple layers of meaning and space for reflection
          Eline Bjerkan,, Bastard Festival 2019 (NO)

Convinces the senses
            Venke Marie Sortland, Showbox Festival 2016 (NO)

They present the most terrible in a setting full of contrast; with frying and serving of waffles and a low key and everyday conversation about what they remember. (...) While waffles were being fryed and the war was talked about calmly and naturally, we were sitting around a table with wartoys, like in an enormous battlefield. (...) Effective and illustrating contrasts and a performance that at the same time was mercilessly honest.
          Amund Grimstad, Bastard Festival, Rosendal Teater 2019 (NO)

There is a lot of theatre about refugees and the migration of people across the world. This is in my opinion one of the most powerful and affecting I’ve seen, the staging and the setting so intimate and ultimately powerful. A true story with waffles. 
        Tony Rieeke, curator Take Off Festival 2019 (UK)
           Tony Reekie, Programmer (TakeOff Festival)