Amadeus

Let us enter Shaffer's text for a couple of minutes and let us try to find our own place in it. The production makers took the text in their hands. Their minds got flooded with words, images, views and questions... Search for a place as a key which has never been named, as a structure of the mind, of the mediator who writes it, which emerges when it is necessary to start talking about the talking of the performance itself. However, we are not only looking for place for ourselves. We are looking for it for the characters, for a group of characters. The search for a relationship and for a link between us and Salieri and the group of actors who struggle through the obstacles of Shaffer's text... All we want to do is search and discover a human being in his loneliness, living with guilt which only he himself can understand.

Peter Pavlac, theproduction 'sdramaturgist

Let us imagine to what extent we are able to accept our geniuses, if they are acceptable at all. Directed by Jószef Czajlik here we have a tragedy of two helpless people. There are no winners. The tragedy of Mozart or Salieri is depressing. However, the defeated one after all is Salieri who has not been made famous by his work, but by his opponent through whom he won his dubious fame. The performance from Komárno is an attractive fresco full of beautiful images which often make one's stomach cringe.

Juhász Dósa János, Szabad Újság, April 2001

Czajlik's directing discovers in such a pure and precise manner various theatre styles that they help the actors to act. By creating stable points, the director changes, the story into a miracle – breathing, pulsating and wild. And the mysterious piano: Salieri's bed – Mozart's table, Salieri's table – Mozart's coffin. Splendid symbolism.

Tamás Gál, student ojAMDA in Bratislava, ÚjSzó

What is especially exciting is the scene where Mozart, having nothing to write with on the blackboard, which is scribbled all over with Salieri's notes, records the notes which he had stored in his head with the juice from an apple into which he has just bitten. He thus not only blurs Salieri's board, but his self-destructive and impatient nature dictates him to throw his work on the wall of transience, and not immortality. The notes, written in a hectic way in left (!) hand, dry out at once and the trace which they leave changes to blurred and illegible.

Andrea Tompa, Színház, 512001