The Dybbuk - Reviews

…The performance, in an expressionist key, has a dramatic power that is only rarely seen on the stage.
The audience, which is seated on the stage, in a way becomes part of the scenery, a décor which is very simple and very ingenious, built from white material covering a metal scaffolding, which creates multiple acting spaces, and is also open to various symbolic interpretations. In this generous and – because of the proximity of the audience – enclosed space, the actors work perfectly, “supported” by a musical score (Laszloffy Zsolt) and a choreography (Yael Cramsky, Israel) of subtle expressionism…
…But the most powerful aspect of this performance is the acting: judged by the results, Zinder’s method seems to be really valuable, because even if the majority of the parts are small, the protagonists work flawlessly, as a harmonious chorus. …the absolute revelation of the performance is Imola Kezdi as Leah, a young actress from Trg-Mures who displays a power of concentration, corporal and mimic mobility and an intensity of expression, all of which announce a perfectly formed artist, capable of outstanding performances.

Roxana Croitoru - Teatrul

The play displays a finely detailed and artistically virtuoso performance. ..
Imola Kezdi (Leah) … is brilliant, with shifts of light and dark that amaze the spectators. …
Her physical expression and her interpretation of the part profoundly move the audience…
Aron Dimeny’s dybbuk carries an aura of mystery throughout the play, a character with few words, but great power in his gaze and the calligraphy of his movement…

Köllo Katalin: I surmounted death… - Szabadsag, May 25, 2002

…The performance, which is meticulously worked out, displays not only the actor’s profes-sionalism but also challenges the audience’s capability of understanding, and in this way cre-ates a cathartic effect which is indispensable in a theatrical performance. To achieve this ef-fect, the director is helped by everything, the scenery (Miriam Guretzky), the choreography (Yael Cramsky), the music (Lazsloffy Zsolt) but above all, the actors. Miriam Guretzky de-signed the set for this multi-levelled play in order to facilitate its understanding…

Cristina Ruziecki - Eveniment

A rigorous interpretation, maximum dramatic tension, acting at the highest level
and a meticulous attention to every detail so that nothing clashes with the whole – this is my opinion about David Zinder’s White Fire/Black Fire (The Dybbuk)… the high point of excellence in the entire festival. (The Romanian National Theatre Festival, November 2002).

Cristina Modreanu - Adevarul

White Fire/Black Fire, adapted from Anski’s original play, presents us with an unconventional space that is built especially so that it gradually disintegrates as a symbol of the fragility of equilibrium in the human world. The intervention of divine forces (sometimes called in carelessly) which can overtake us, as well as the power of love that cannot be defeated even by death – these are the central themes of this immensely powerful story, which is so finely interpreted by David Zinder..

Voicu Dragomir - Theatre Website

The performance is blessed by an extraordinary interpretation, which, I would go as far as to say, is not play but life at the very edge of feeling… The “Dybbuk” from Cluj was not only a very special performance, it was a life experience.