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The (at east) two-folded style of the author has inspired the director to reveal the melodramatic framework of Sonja as the interplay between the Fair-haired (Gundars Abolins) and the Red-haired clown (Jevgenijs Isajevs). There are a lot of open theatrical means in this performance - the change of roles, changing clothes in front of the audience, as well as comics characteristic to the circus and separate inserted tricks. Sonja played by Gundars Abolins lives virtuoso in this element between the physiological seriousness and clownery. In reality, there are so many elements of circus in the performance of the actor (a trick - preparing chicken for cooking, a trick - sliding the letter in the bodice, a trick-taking medicine for heart and drinking water, etc.) that actually it is difficult to grasp the moment when it all merges into the deepest seriousness, the moment when the face of the clown gets the traits of iconic Madonna. It is possible that it comes from the internal attitude of the actor (as a human being) who presents this person in a grotesque manner, but does not ridicule. This is a very original and very special work of an actor that actually does not have any relation to either Japanese or Greek or Shakespeare theatre, or the best cinema benchmarks. Undine Adamaite Sana tas skan lepni {Sonja - It Sounds Proud]- daily newspaper »Diena«, 21 April 2006

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