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December 3., 2020.
The Weir has reached the end of its rehearsal period, awaits a premier date

The latest performance of the Harag György Company has been completed and is beyond the rehearsals. The decrees made due to the coronavirus pandemic put a padlock on the theatre again in November: performances can not be held in Satu Mare not even with a third of the capacity of the theatre.

Nevertheless, they have been working in recent weeks. The Harag György Company was preparing for a premier, and although they were forced to postpone it to an unknown date, the rehearsals of the performance entitled The Weir were held. The actors are just waiting to show their audience a performance created from an otherwise internationally successful piece of writing.

The Weir, published in 1997, was staged at the Royal Court Theatre in London in the same year and was added to Broadway's repertoire two years later. It won the Laurence Olivier Award for Best Performance of the Year in 1998, while Conor McPherson also received the Critical Award for Most Promising Playwrights. According to a survey by the National Theatre in London, it is the best play of the 20th century, and according to Michael Billington, The Guardian’s critic, is one of the 101 best pieces of all time.

In a small town near a weir in Ireland, three friend meets in a pub. The evenings take place according to a customary rite in this rural landscape where nothing ever happens anymore. They talk about the weather and a young woman came from Dublin. Her arrival will change everything as each of the men will have the opportunity to tell their story. Because they believe that their monotonous life does not attract the attention of a sophisticated lady, everyone colours their experiences with personal drawn from local folklore. The atmosphere is strange, spooky, studded with elements of a good comedy, because after each story they turn back to each other’s usual teasing, as they’ve always known each other. Until they find out why the young woman moved from the capital to their small town. And then every story is overwritten by the solidarity, friendship, humanity that they show towards him.



The ability to “tell a story” is part of verbal excellence, it carries the imprint of the “living”, which can be used as the main argument in addition to theatre The Weir by Conor McPherson explores human relationships, under the guise of night, in a place that seems to have been forgotten where the lonely, the injured, the unfulfilled in love, or those who have just lost the person whom complemented them and gave meaning to their lives. The stories of The Weir are intertwined as poems that fill the solitude with the nature of confession. As soon as the game begins, everyone will be the narrator of their own fears.

The loneliness of the participants seems irrevocable until they understand that responsibility for their community can be life-saving if they feel lonely, isolated or sad. The purpose of the play is to talk about the depth of loneliness in nowadays world: to assume, to research, and to find solutions. The lives of all of us over the past few months have been about loneliness and breaking out of the community. We want our performance to restore our viewers ’belief in human relationships, to overcome their fears about confession and, most importantly, to make sure we believe in others. Not to be afraid anymore.

Cast: Rappert-Vencz Gábor, Orbán Zsolt, Nagy Csongor Zsolt, Gaál Gyula and Bogár Barbara. Set and costume designer: Anda Pop, dramaturge: Bessenyei Gedő István, light designer: Lucian Mogam, musical coordinator: Manfrédi Annamária, stage manager Szabó Ritta, prompter: Kófity Annamária.



The performance directed by Ovidiu Caița, artistic director of the Romanian-speaking company of the Northern Theatre of Satu Mare, the Mihai Raicu Company, spokes about the completed performance as follows: “I want the audience who sit in the theatre to break away from the outside world during the performance and get close to the actors: who are not good or bad, but simple people with good and bad qualities. They are lonely, but they form a community in the pub where the performance takes place. I want the theatre to be such a place. A place where we can re-form a community in our now disintegrating, distant society”.

So, the performance is ready for presentation, and actors are just waiting for the epidemiological measures to allow for a real premier. With the audience, experiencing the magic together in the theatre.

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