The French press, and not just any press, but the undoubtedly prestigious and indisputably high-quality ones, enthusiastically greeted the national premiere of the third part of the trilogy that brought fame to the playwright Florian Zeller.

sonny had a part called christening scene in the play he is playing French comedy (in February 2018 with the first cast, in September of the same year with the second), a show directed by Ladislas Chollat. If Le Point he counted what was written masterpiecechronicler of Le Figaro qualified it as correct one of the greatest works of the modern scene while a journalist from L’Express he appreciated what I believe to be the most important strength of the text. Emotion. The emotion that stems from the realism of the dramatic situations that Zeller is able to evoke and handle without the slightest slip into melodrama, from the deeply relevant nature of the subject. About the importance of mental health. About the fragility of the border between illness and normality, about the difficulty of admitting that something is wrong K with you or someone dear to you, about shelter in an incomprehensible secret. At any moment, he can come up with something to force us pressure on our lives. Different pressure than the previous one. In the specificity and rules of normality.

If the main characters in have (2010) and from father (2012) suffered from progressive memory loss, a fact that irreparably affected their personalities, Nicholas, a teenager from son, is a victim of depression. About an illness that arose as a result of an accident in one’s own family (divorce of parents), about an illness that was aggravated by the inability of the same family to perceive and treat the new reality properly. A living family the horror of being a father.

Like Alan Strong from Equus or as Benjamin of martyrNikolay unexpectedly suffers from what Michel Butor would call modification. He no longer goes to school, has no friends, isolates himself, finds refuge in his room, etc waste symbolic from his own childhood. Entrusted to his mother’s custody after the divorce, Nicholas longs for his father, who rebuilt his life. But everything is much more complicated. Both want and hate the father. Nikolay considers him to be responsible for the breakup of the family, for the changes in the teenager’s life, so changing the place of residence, in fact, does not solve anything. The father is under the illusion that everything is back to normal, that Nicholas is in the process of recovery. He pays no heed to his mother’s alarm signals or his young wife’s warnings. He does not notice or does not want to notice that Nikolay is lying, that he is making something up. The father, a successful lawyer, thinks he is doing the right thing when he signs his son’s release. He misleads that everything can be solved through love. He forgot that there was a gun in the house, which Nikolay often mentioned. Like Chekhov, at some point the gun goes into action. And Son is the new Treplev.

Matrix from sonny is and is not strictly similar to this have and from Dad. Here the scenes are not written and rewritten, as in previous plays. That is why the action from sonny it has extra italics. Everything seems like a game of chess. With movements both in one direction and in the other direction. An interesting fact given in the performance of the Theater queen maria from Oradea with specific stage music by Eduard Gaby. An excellent option from director Bobby Prikop. Black and white combination of decor and props. The stage, a V-shaped set, mixes the white of the hospital with the black of the toys that fill the stage, slipping out of Nicholas’ hiding place. Therefore, I praise the set designer Oana Mika, who in her own way offered the same game of chess, and I also praise the director Bobi Prikop. Impeccable in the choice of co-authors. Or almost flawless. Why close? Because I have some reservations about the quality of the translation. Which Silvia Nestasi created either from English or from a anglicized it. It interferes with that i appreciate offensively transposed from the language of Shakespeare in about the same way as an inflationist seems to me With love. From our everyday life.

Having reached the age of creative maturity, Bobby Prikop decided to make a show with heroes. Characters are not just ideas, not just themes, not just ideas or symbols, but real people. And who here proved that he knows how to work with actors. To be fair. There was other evidence of the same director, unfortunately missed by the critics and the jury. From the increasingly dangerous chaos of the UNITER elections and the FNT configuration. So I don’t see anything wrong with Richard Balint, a confident, charming performer of the complex role of the Father, or with Alina Leonte, absolutely wonderful as Sophie, or with Corina Chernea as the Mother. Perhaps, however, Anna’s whininess should be simplified. The right measure can also be seen in how Sherban Borda (Doctor) and Sorin Ionescu (Nurse) materialize their episodic appearances.

Bobby Prikop’s big bet and big win is the courage to entrust the role of Nicholas to Robert Balint. A teenager who is the same age as the character. Or it may or may not be an advantage. What happens in a film (where you can extract countless takes) and what happens in a cinema are not so similar. A place of danger and surprise. Nikolay is a complex character, he is far from coloratura. The story of sonny goes beyond the topic of intergenerational conflicts. Read the whole article and comment on Contributors.ro