Quartet

Valmont and Mertewl cannot talk to each other any more, so they invent various games in which they impersonate various characters in order to say the truth to each other through them. As soon as one of them shows the least bit of emotion or love, he or she becomes vulnerable, and the other uses that crack to offend, to hurt. And above all, to manipulate Sometimes their games are awfully drastic, but also very witty. (...) Miiller's play is strange and interesting, but I anticipate that many people will not like it. However, I think there will be enough of those who will understand it. It is certain that it has impressed me a lot. I usually live my characters about a week before the opening night, but now I have been intolerable at home for a whole month and a half. I cannot sleep, I cannot talk about anything else, I am imbibed with Valmont as with nothing el at any other time. He takes my energy from anything else.

Vladimír Hajdu, Valmont, in a conversation with Barbora Dvořáková, Magazín SME, 9/6/2001

Astorka Korzo '90 Theatre should be acknowledged for staging Quarttet – Miiller's text is interesting and demanding to produce. Valmont an Merteuil are imprisoned in a clean white laboratory space, where the. almost dissect each other with sharp words and metal instruments.

Martina Vannayová, lt is Always the Other One Looking from the Mirror Domino forum No. 26, 2816. 4/7/2001

They have both lost the fight for the human being inside themselves. Valmont through his disability to give up the joy and pleasure from the new form of "love" and the ageing marchioness through the change of her pure, maiden-like desire for love which was hiding deep in her heart to a blind dragon. A woman who is only "allowed" to love gently, openly and sincerely after she has murdered. This was the meaning to which the last scene was devoted. Thanks to the acting of Zita Furková it w chilling, yet vastly human.

Dagmar lnštitorisová, To Be a Woman, not a Winner, Kultúrny život, No 27 – 28, 4/7/2001

Zita Furková and Vladimír Hajdu, both in sharp red costumes, have given an unforgettable performance. The marchioness was incredibly animalistic, naturalistic, but she also made an impression as a woman, because Furková made magic with the text and she managed to easily transform into its different positions. Hajdu played his viscount as a dangerously playful, mocking and blasé dandy, capricious as a woman.

Marián Hatala, On the Very Bottom of Nothingness, Mosty, No. 25/2001, 19/6/2001

The director Soňa Ferancová is famous for seeing the importance of theatre in stepping over borders and her Quartet in many ways tears the mask down as the first one. (..) Furková and Hajdu do not get lost, although they are able to slow down. They keep pulling the exciting thread further and further. (...) You will need a couple of days to catch your breath and get back to normal after the Quartet rendered by Ferancová, Furková and Hajdu.

Alexandra Tinková, Shocking decadence, Pravda, 20/6/2001

 Vladimír Hajdu as Valmont bas brought dandy elegance and sarcasm, just to look at him has been an aesthetic experience. The sharper and sparser he has built his expression, the more effective he has been at the times of gentleness and compassion with his partner. Zita Furková as Merteuil has given the best performance I can remember. Life experience in her melts into softness, into animalistic, yet disciplined femininity.

Anna Grusková, The Art of the Beasts, SME, 12/6/2001