Radio Slovenija 1

Dogodki in odmevi
12 December 2010


The performance, staged on a slanted ramp with a number of vertical sticks, the work of the Estríhi in ométi group, is a linear narrative: through episodes, we follow Oliver’s turbulent contacts, first with the nobility with long noses, the corrupt orphanage patrons, then with the rude citizens of London, the tower of young pickpockets led by the clever Fagin – brilliantly portrayed by Ivan Peternelj – and finally with Mr. Brownlow played by Robert Prebil. Besides the acting creations, the performance finds its highest potential in the effective combinations of the visual – lights and costumes, created by Tomaž Štrucl and Mateja Benedetti, and the make-up by Barbara Pavlin. These are enhanced by the music by Silence and the significantly present choreography by Branko Potočan. The dynamic stage action reaches beyond the linearity of the events and the episodic unclarities in the dramaturgy of the adaptation and thus charms the spectator into the world of Oliver’s trusting childhood innocence and the hope for a happy end.

Petra Tanko



MMC RTV SLO

Oliver Twist – čudno ime, čuden svet [Oliver Twist – twisted name, twisted world]
13 December 2010

The vehemently dynamic and aestheticised, in parts raw, artificially rough physicality of Pograjc’s characteristic style finds its parallel in the programme quote by by Blažka Müller Pograjc “Because the theatre must be attractive, beautiful in every way.” […] When portraying the society that toys with this ‘innocent’ (something we find hard to write and read without cynicism these days) boy, the performance deliberately strums only the tiny underlying notes: the caricatured traits of those characters that represent power (the leaders of the orphanage, the judge, the leader of the juvenile pickpockets Fagin), black carnival masks over the eyes, white masks with long noses, London pickpockets as a gang of ‘stoned’ youths all fit into the aestheticisation of the movement and masks, and carry additional meanings if we want to discern them, and at the same time recognise in them tiny actualisations for our or any other time.

Nika Arhar



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