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2003 |
Abbey Theatre, Dublin |
Ibsen |
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2004 |
Abbey Theatre, Dublin |
Békés, Pál-Theatre du Compagnole |
| Reviews The Wild Duck Peacock Theatre, Dublin |
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The
Irish Times [...]"
Marton' low key, unfussy direction, with its emphasis on crisp movement
and clear storytelling, becomes steadily more impressive. The assurance
with which he and the cast plot the play's shifting moods, from sardonic
satire to bitter comedy to horrible tragedy, makes for absorbing theatre.
[ ...] this is a captivating and unexpectedly enjoyable production of
an oddly timely play. It will certainly tell you as much about truth,
lies, and scandals in two-and-a-half hours as the same period spent at
a tribunal." |
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WOW! "A familiar
cast comprised of some of Ireland's most talented actors are directed
into the statosphere by Hungarian director Laszlo Marton; it might seem
that they have been asked to do 'less' than ususal, but in fact they are
asked to do much, much more. The understated approach that Marton has
taken towards Ibsen's text (in a new version by Frank McGuinness) allows
each and every player to fully embody their characters in a way that few
directors demand. In place ofwhat often appears to be uncontrolled emoting,
we-are presented with truthful, human behaviour, rich in believability,
with plenty ofroom for explosions ofpassion and grief. [ ...] This wonderful
productoin is the highlight of the Dublin theatre season thus far, and
Marton's direction should be taken as a master class for any practitioners
who would like to move beyond the declamatory early nineteenth century
mode that seems to define much of Irish theatre making."
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Sunday lndependent " A new
version of Ibsen ' s The Wild Duck is a major theatrical event. .." |
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The
Sunday Business Post [...] "This
well paced production reaches successfully for humour as it plunges to
tragedy. Each character is played with a sureness and lightness oftouch
that straddles farcial humour and despair."[...] |
Culturevulture.net [...] "Hungarian
director László Marton makes brilliant use of the stage
at the Peacock, with excellent blocking and precise movement which succeeds
in sustaining the illusion of naturalism in the presence of a symbollically
and thematically charged space. Every actor seems comfortable with the
complexities of the text and every nuance of psychological tension has
been drawn out though controlled yet fluid direction. |
What
' s Going On [...] "Hungarian director László Marton perfectly pitches the farcial moments against the unfolding backdrop ofhorror in a choreography that is profoundly disturbing at climactic moments."[...] |

Des Nealon and Judith Roddy in The Wild duck
| Top Ten at the
Abbey A Directors Choice Conall Morrison
I knew a lot of the actors and I was very impressed when talking to them afterwards with their degree of generosity and of spirit. I was talking to them and like all directors wanted to know what the director had done. Actors are much more clued into a range of directing styles because they get to work with a range of directors; directors, on the other hand, just tend to work with themselves. So they only know one style of directing, one in all its faults. So I was asking these actors, What did he do, what did he do? meaning the Director Laszló Marton. It was interesting to learn that because the man came with a considerable reputation and with great discipline they all very much, subjugated themselves to pretty much whatever it was that he said. I knew that cast and there were a few tricky customers in there, a few fiery, questioning individuals! They would be prone to argue! You say Its black and they say Well is it? Ive got a funny feeling its white actually, why couldnt it be? and you end up saying Oh for Gods sake shut up! No, Im not actually going to slander anybody, but, whatever the reason was, they knuckled down, focused up and got it done. So it was interesting to see in terms of an aesthetic
that because they put themselves very much in his hands and because he
was very clear about what it was that he wanted, they actually managed
to give a performance that ended up being incredibly focused. They too
actually found this incredibly satisfying. I dont want to say anything
thats too supine but they related themselves properly to the play
and to the production demands and created something that was therefore
all the more fulsome in its final realisation. Again perhaps it is only
something that the Abbey and the Peacock can really do and for which it
should be given full credit. It was a commercial risk - a lesser-known
Ibsen, a big cast and a director who needed to be brought over to Ireland
to direct it. I thought that was a good example of why the risk is worth
taking and what the pay offs can be. "[...]
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