The actors’ work still surprises and excites us. The body in its whole serves the meaning to be expressed without exaggeration; the play of the eyes, every single mime, each gesture is the extension of the pronounced or underlying dialogue. (…) Undoubtedly the greatest effect is due to the differentiated strangeness of the characters, the syncing of their ruthlessness, their powerful, wisely twofaced craziness, the perfect balance of director Gábor Zsábéki’s work that makes the body speak beyond language.
Marie-Francoise Grislin, Hebdoscope
Antoine Wicker, DNA
We are literally enchanted by Gábor Zsámbéki’s intensive production, which lasts for three hours and there is never the slightest shadow of exhaustion or boredom passing through it. It is a remarkable coincidence, or shall we not say, fusion between the text and the direction and at the same time we can enjoy the wonderful Hungarian actors, who are just as passionate as uplifting, blending into the sets which cleverly suggest the sparkling world between dreaming and nightmares… There are some for whom the joyful passing through the mirror is impossible.
Valérie Bois – Les Affisches – Moniteur
"Yvonne" is probably the most beautiful play of the Twentieth century and Gábor Zsámbéki and his excellent actors deserve all praise for their speediness, wit (in spite of the scene being poor with its tiny trees, benches and orange armchair, and Yvonne being so ugly, that the grotesque becomes slightly to evident). Clearly Zsámbéki’s slight sarcasm comes from Büchner’s Leonce and Lena and the puns are as sharp as Oscar Wilde’s.
Franco Cordelli, Corriere Della Sera
Katona’s Hungarian actors are back to the European Theatre Festival with Yvonne, Princess of Burgundy produced as a comic thriller. (…) I’m telling you that for director Gábor Zsámbéki and Anita Tóth, theatre is naturalness, joy, life itself.
Ugo Ronfani, Il Giorno