This performance coming from Budapest should not fear any comparison – not even one with Peter Stein's production. (...) The Katona József company is a master team of ambiguousness in a seemingly plain theatrical form.
Peter Burri, Frankfurter Allgemeine Zeitung
Chekhov might have imagined it this way. (...) Ascher is one of the leading European directors - the subtly knotted net of his performance equally satisfies the psychologist, the actor and the choreographer in the spectator. I have not seen a German director since Noelte and Peter Stein who could move a dozen of actors so meaningfully and at the same time looking so spontaneous.
Wolfgang Ignée, Badische Zeitung
This show coming from Hungary makes a terrific opening of the season of the Théatre de l'Europe - so strong, so sensitive, so deep that it shows for each spectator a radiant and magnificent clearness.
What a great theatrical lesson! What an intelligence de Chekhov! What rigorousness, what humbleness before the poet! You do not feel like commenting on it, this work imposes itself, clear and simple.
Armelle Héliot, Le Quotidien
Since the theatre itself, too, is a kind of language, it is of no importance that it was performed in Hungarian. The definite outline of the staging and the acting all prove that it is a question of a company belonging to the forefront of the international theatrical art. This Three Sisters was at least as powerful as the one in the Schaubühne of Berlin, in Peter Stein’s direction.
Jean-Pierre Léonardi L’HUMANITÉ
Masterly works and performances can be understood even if one can not exactly understand the language. Such was the case of the Hungarians. (...) An impeccable, noble production, sharp in its every syllable, every motion, and full of wise naturality.
Odoardo Bertani, Avvenire
It might be an audacious statement, but in my eyes the Three Sister-production of Tamás Ascher stands no way behind the much praised staging of Peter Stein in the Schaubühne. (...) This performance expresses in an extremely comical and at the same time deeply tragical way how desperately banal our suffering is in all the misfortune, unluckiness and grotesque distortions of everyday life.
Karin Kathrein, Die Ganze Woche
Enchantment - that is the best word to describe what the Hungarians do. (...) We do not understand the text, which is a pity. But not much so because the acting is excellent and clear. The most beautiful is the team play, held together by the tie stageing, which has the musicality of an orchestra. A composition of hope and despair.
Gooi en Eemlander
Tamás Ascher's thrilling production brings out more boldly than I have seen anywhere else the corrosive effect of the three love triangles upon the characters everyday lives. (...)
Jeremy Kingston, The Times
Dorottya Udvaros’s meaningful logic of acting, her abundance in emotions and details and her unselfishness represents the vivid and flexible company of Budapest in an excellent way : as a guest of the International Theatre Festival of London the company performs Chekov and the Government Inspector one after the other during a week.
Michael Ratcliffe
If the London Internatinal Festival of Theatre needed any justification for the first 10 years of its existence it would be amply provided by these two remarkable productions from the Hungarian Katona József Theatre. The first British visit by this outstanding company gives us an opportunity to see theatre at is breathtaking best. (...) We can sit back and marvel at the quality of the perfromances and the passion and freshness of the interpretations
Annalena McAfee, Evening Standard
We do not have too often the possibility in Zürich to meet such an outstanding theatrical experience that we could have seen. Even the most insignificant subordinate roles are performed by actors possessing an extraordinary power of creation. That is what can explain the vitality present in crowd-scenes on the stage. In each of its corners different stories go on that attract the spectator’s attention. The reason why the perfect possession of possibilities of facial expressions and gestures is so striking is that most of the spectators is in need of simultaneous interpretation that they capture by headphones. We should absolutely mention here the role of translation, which is rather restrained, does not force itself on the spectator and does not commit the error of trying to transmit emotions.
Tagblatt der Stadt Zürich
The Three Sisters is one of the best theatrical conceptions seen on the FIT Caracas 90. Without any particular “trans-avantgarde” fuss, it was the fantastic effect of the ’good theatre’ that was simply let to be felt on Anna Julia Rojas’ stage. With that, the Hungarians created an undoubtful aesthetical precedent. Each of the four acts proceeds as if it were a chain, in order to integrate the Chekovian conception into the existential substance of the nation that the Katona József Theatre serves with all of its activity.
Alexis Blanco, Festival News, Caracas
This show coming from Hungary makes a terrific opening of the season of the Théatre de l'Europe - so strong, so sensitive, so deep that it shows for each spectator a radiant and magnificent clearness.
What a great theatrical lesson! What an intelligence de Chekhov! What rigorousness, what humbleness before the poet! You do not feel like commenting on it, this work imposes itself, clear and simple.
Armelle Héliot, Le Quotidien