In Gábor Zsámbéki’s interpretation this comedy becomes startling and scary at times but of course it remains hilarious all the way. Harpagon, played by Péter Haumann is the saddest character. (…) The performance is rather actualized and is played in the right pace. The last scenes were really interestingly done. When everything points at the happy ending, the actors change their way of playing, all of a sudden, as if everything was played in a TV soap opera or in a XIX century star theatre. The actors apply the usual clichés, theatrical sighs and putting a hand on the heart.

Tadeusz Kornas, Echo Krakowa

The last scene emphasizes this ironic interpretation of Moliere, when the door are slammed behind the happy engaged couple and Harpagon is left behind alone with his chest of money on which he had been sitting till then. This terrifying character, played by Péter Haumann, elicits sympathy for the character played like a tragic hero. Zsámbéki gave a bitter undertone to the whole play showing the consequences of greediness turned into monstrosity.

Roman Pawlowski, Gazeta Wyborcza

Péter Haumann’s Harpagon is an incurably mean character. His acting is passionate and natural, at some places he throws himself around like a mad man, at others, he cries real tears. His personality fills in the entire space not giving a chance to the other actors. We believe him, because we witness a pathological case study broken down to its elements- an illness that is not rare even today. Haumann’s play is spectacular in these moments.

Magda Huzarska-Szumiec, Gazeta Krakowska

Respect for the author, professional acting and excellent staging marked the performance of the Katona József Theatre from Hungary. Péter Haumann (...) showed a vivid, authentic figure of Harpagon - a man, sick of his own greediness, miserably lonely and tragic.

Marek Miklós, Gazetta w Krakowie

The Miser of Zsámbéki does not lead the audience in the trap of unanimity. This performance is among those rare which make one's thoughts return to them again and again. (...) The more often I remember this Miser - its obviously ironical ending and the well-balanced acting of the excellent players - the better I find it.

Janusz R. Kowalczyk, Rzeszpoczpolita

Katona József Theatre brought us the kind of theatre we had been missing, it brought actors who convince us of them being someone else with the help of the text, not the ones, who hide their flaws behind audio-visual effects. Each actor of The Miser completely and perceivably give themselves over to their roles, as if Stanislavsky himself were sitting in the auditorium. Péter Haumann’s Harpagon is made miserable by his own anxieties and made predator by his own avarice. Eszter Csákányi provokes us to cry and laugh with ease, the young Péter Takátsy surprises us with his flexible body, required by Valére’s role, when he becomes a special bug that changes its colours. Because it is impossible to list everyone here, I will praise them all with these lines. I expand this praise to director Gábor Zsámbéki, who grabbed Moliere’s exaggerating absurdity with balanced direction choreographed to the smallest details.

Juan Antonio Gonzalez, El Nacional, Caracas