Reviews


 

Delo

21 April 2009
Public confession, redemptive

In just over one hour and a half of this cleverly condensed, internally intensive and graduated story the director and his collaborators managed to capture the key stations of the internal, spiritual calvary of a “former student” and a miserable murderer Rodion Romanovich Raskolnikov, from reviving fragments of his family and life circumstances that, together with the effects of the society, (could have) contributed to the crime, to the protagonist’s consequential illness, uncontrollable mental ravings, and physical suffering, to his final public confession of the crime and to the (supposed) catharsis.


Slavko Pezdir



Radio Slovenija

21 April 2009

Director Diego de Brea has managed to sequence the inner layers of this superb tale of human self-pity and directing – intense, yet subtle despite the morbid structure – into a performance that loses none of its credibility, quality, and sincere admiration for some staging solutions. Those who don’t know the story of Raskolnikov, tortured and destroyed by his sin of killing the old pawnbroker, might as well switch off the radio and leave civilization, because the skeletons hidden in it can push a person – blatantly disregarding her or his origin, social and material status and any other circumstances – to the edge of humanity and even beyond so carefully that many, too many, find themselves carrying a burden that will be their end. […]Matija Vastl was a superb Raskolnikov; without a glitch, he personalized and presented every single trait of his hero, or rather anti-hero. I have never seen him more emotionally intense or technically perfect. The entire cast was very good, let me mention Sandi Pavlin as the impoverished Marmeladov, Olga Kacjan as Raskolnikov’s mother and Marinka Štern as the murdered pawnbroker. Director Diego de Brea solved issues of scenography and light design with effective results. Marita Čopo’s costume and Silvo Zupančič’s sound added to the performance; but frankly, Crime and Punishment is full of meaningful details that make the performance dark and magnificent. And yes, it is dark and magnificent.

Tomaž Simon

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