Péter Blaskó’s fascination with the theatre revealed itself early in his life, nurtured above all by his mother’s vivid accounts of performances she had seen. Growing up with his family in Budapest, near the József Attila Theatre, he was able to observe the world of the stage almost at first hand. He would wait patiently by the stage door to watch the actors emerge and collect their autographs. Yet his youthful enthusiasm was far more than simple fandom. “I was trying to catch a glimpse of some kind of mystique there – that moment when the actor removes the mask and becomes a human being”, [1] he later recalled, encapsulating the deeper curiosity that lay behind his early passion.

After completing secondary school, there was little doubt about his next step: he applied to the Academy of Drama and Film (now: University of Theatre and Film Arts). Once admitted, however, the starry-eyed admiration of youth quickly gave way to the rigours of professional training. Studying under Zoltán Várkonyi [prominent actor and director, 1912–1979] and László Vámos [influential theatre director and pedagogue, 1928–1991], Blaskó later reflected “The first years were filled with struggles. I had to realise that the world of theatre was far from the ideal I had imagined… One must sweat a great deal for lightness, for playfulness. It was during this period that I came to know myself. I consciously sought the key to Péter Blaskó – to make my experienced self, my physical and mental capacities, the tools of acting.” [2]

Once he had overcome the initial difficulties, Blaskó’s talent was soon recognised, and he was offered roles in several productions at the National Theatre. As a third-year student, he appeared in Üvegcsapda (lit. Glass Trap), a play by Endre Vészi, performing alongside such luminaries as Mari Törőcsik, Ferenc Kállai, and Lajos Őze. His portrayal of Laci was praised as a “sympathetic debut”, [3] and critics noted that he met the challenge with confidence: “he moves comfortably on stage, speaks well (no small matter!), and is an equal partner in the ‘leading trio”. [4]

It was hardly surprising, then, that upon graduation he was offered a permanent engagement by the National Theatre, which he readily accepted. He remained with the company for four years, but as a young actor he found it difficult to assert himself amid the ranks of already established stars such as Ferenc Bessenyei, Imre Sinkovits, and György Kálmán. Most of the roles entrusted to him were minor parts or substitutions, which offered limited opportunity for artistic growth. Because stand-ins and replacements rarely participated in the entire creative process of a production, Blaskó often felt excluded from the deeper work of rehearsal and ensemble building. “In a large theatrical ‘factory’ such as the National Theatre in Budapest, the repertoire is necessarily broader and the number of premieres smaller than in smaller companies. For a young actor signing with such an institution, it is understandable that role replacements and occasional stand-ins offer the main opportunities. I was faced with such tasks myself; and although among the roles I took over there were some prestigious parts, something was still missing”. [5]

In 1973, Blaskó was invited to guest-perform at the Miskolc National Theatre in a production of Csongor és Tünde (Csongor and Tünde / The Quest: A Fairytale Play in Verse), the classic verse drama by Mihály Vörösmarty (1800–1855). In the title role, he “was no fairy-tale prince but a hero with a human face”. [6] Although the production itself did not prove a box-office success, Blaskó succeeded in winning the trust of the Miskolc company, which soon invited him back for another role. The next production – based on Testvérek (Siblings), a drama by Gyula Illyés (1902–1983) was far more successful than Csongor and Tünde, and Blaskó subsequently joined the company of the Miskolc National Theatre as a full member.

Compared with his years at the National Theatre in Budapest, the opportunities in Miskolc were far more diverse and substantial. He played Victor in Yerma, the Man in The Typists, Franz in The Robbers, and Treplev in The Seagull. Critics wrote of his performance in The Robbers that “his powers have been unleashed. His nerves are bare. He is capable, in a single surge, of soaring to any height”. [7] His years working in the country thus allowed the potential within him to unfold. This was demonstrated once again in An Optimistic Tragedy (1975), directed by Imre Csiszár. His portrayal of Alexei was characterised by “simple means […] and an increasingly mature theatrical sensibility”, [8] presenting “a man who retreats into the poses of swaggering bravado, yet is lonely and yearning for love”. [9]

For his performances in An Optimistic Tragedy and Siblings, Blaskó received the Art Prize of the Council of Heves County. Reflecting on his success, he remarked: “Perhaps it was here that the most favourable circumstance ripened – that I found myself in a creative community which did not force me into struggle or compromise, but allowed me to wrestle with the role… And of course, it was also because I encountered an excellent audience. A perceptive, sensitive and actively engaged public, such as the one in Eger, can propel an actor’s work forward in an extraordinary way”. [10]

In 1977, Blaskó appeared as a guest performer in Szolnok. Imre Csiszár staged Bertolt Brecht’s Mr Puntila and His Man Matti at the Szigligeti Theatre, with Tamás Major in the title role. For the other main part, that of Matti, Csiszár invited Blaskó – and he naturally seized the opportunity. Matti, critics observed, “is not a grateful role; one must balance delicately between schematic characterisation and folk wisdom. Blaskó approaches the part with relish, building the character with simple means and measured proportion, and he is clearly under Major’s spell.” [11] He “brilliantly brought to life the puppet-like goodness and fairy-tale impassivity of the character”, [12] and thus held his own on stage even alongside Major in the Szolnok production.

The years spent in Miskolc, as well as the guest appearance in Szolnok, proved formative experiences for Blaskó. “I believe that at no theatre in Budapest could I have played so many varied and exciting roles in four years as I was given here in a single season,” [13] he reflected. Yet in 1978 he decided to leave the company, following director Sándor Beke to Kecskemét. The detour, however, turned out to be short-lived. Although he was entrusted with significant roles – including Don Quijote in Man of La Mancha, Ganya in The Idiot, and Ábel in Káin és Ábel (Cain and Abel by András Sütő) – he returned to Miskolc after a single season.

In 1980, he once again worked with Tamás Major. This time Major came to Miskolc as a director, staging Molière’s Tartuffe and casting Blaskó in the title role. “Blaskó […] repaid the choice with a kind of devilish wickedness. His Tartuffe was also a marvel of deception: Blaskó flaunted the vileness dredged up from the deepest recesses of his own being,” [14] wrote one critic. Reviews of the production consistently praised the inspired casting and Blaskó’s portrayal, which – though it bore certain resemblances to Major’s own legendary interpretation of Tartuffe – was ultimately original and distinctive. “[…] Blaskó does not imitate Major, does not reconstruct him, but inhabits Major’s Tartuffe – and, of course, today’s Tartuffe, who differs from that ‘certain’ earlier one – with his own sovereign individuality. True, there are similarities, but they are not identical. On the one hand, the character is freed from the pseudo-pietist features of religious zeal, the least relevant motif today […]; on the other, the character’s self-revealing bombast is framed in subtly ironic quotation marks.” [15]

The collaborations with Major were, unsurprisingly, profoundly influential for Blaskó. “It was through working with Major that I learned, once and for all, how to sustain the intensity of psychical and physical presence, how to uncover the essence that makes a situation interesting – even when the actor is not trying at all costs to be interesting.” [16]

Following the success of Tartuffe, Blaskó also appeared that same year in a world première. Per Olov Enquist’s The Night of the Tribades was directed by Imre Csiszár, with whom Blaskó had already collaborated several times to great acclaim. Once again he took on the lead role, portraying August Strindberg. Critics praised the complexity and depth of his characterisation not only in Miskolc but also during the company’s guest performances in the capital. “The intensity with which he plays, and the rigour with which he shapes the figure of Strindberg, are astonishing. He made full use of the advantages and conditions of the studio theatre. […] In a space this small, one cannot rely on routine: everything becomes almost embarrassingly visible and perceptible. Blaskó understood this and recognised that, in such a space, an intensity rare even on the main stage – if honest and considered – can have a stunning effect. Even at this tempo, Blaskó retains full control over his speech, his phrasing is nuanced, and he remains calm enough to bring every possibility and shade of the text vividly to life.” [17]

His collaboration with Csiszár continued to shape Blaskó’s subsequent career in significant ways. In 1983 he was once again cast in a leading role under Csiszár’s direction. “Csiszár, with unfailing instinct, recognised that Péter Blaskó’s artistry had now reached the level required for Peer Gynt,” [18] wrote one reviewer. The production of Ibsen’s Peer Gynt was met with critical acclaim for both its direction and performances. Blaskó’s Peer “was neither heroic nor ironically detached, but a distinctly modern figure: a player who lives with acute self-awareness, uncovering new layers of his personality one after another, until he stands before us almost stripped bare, awaiting our compassion”. [19]

His interpretation also demanded extraordinary intellectual and physical effort: the part required him to learn a vast quantity of text and maintain an almost continuous presence on stage. “His approach to the role […] is a summation of his career so far […], and at the same time an opening towards a new phase in which he is able to make full use of his receptiveness to poetry.” [20]

The succession of demanding, intense roles did not end with Peer Gynt. A few years later, an equally formidable character came his way when he was cast in the title role of Bertolt Brecht’s Life of Galileo. Once again, the production was directed by Imre Csiszár, and the well-established creative partnership delivered another outstanding performance. As Galileo, “Blaskó both acts and demonstrates at the same time; he does not immerse himself in realistic detail, and in terms of technique he is more ascetic than lavish. With his asides from the edge of the stage, he both embodies and signals the slight didactic intention the playwright has embedded in the role.” [21] The triumph of his interpretation lay in the fact that “over the course of more than three hours, the character never burns out: he radiates a steady, interpretative, sometimes even cold light, within whose beam – aimed at the audience – all the ideas demanded by Brecht’s theatre of alienation are made visible”. [22]

Life of Galileo proved to be a watershed in Blaskó’s career. For his performance he was awarded the prize for Best Actor at the Országos Színházi Találkozó (lit. National Theatre Festival), and his career entered a new phase. After more than a decade in Miskolc, the time had come for a change – partly because the local audience had, as he put it, “grown tired,” and partly because the actor himself was eager for new challenges. “I remember once, before yet another performance of Life of Galileo, I peeked out from behind the curtain at the slowly gathering audience, and a sense of unease struck me: it was time for a change!” [23] Thus, in 1987, Blaskó joined the Katona József Theatre, which at that time was in its heyday as one of the most acclaimed companies in Budapest.

He made his Budapest debut to great success as the Mayor in Nikolai Gogol’s The Government Inspector, directed by Gábor Zsámbéki [leading Hungarian stage director, b. 1943]. The production confirmed that Blaskó had earned his place among the celebrated ensemble. “The key to the success of The Government Inspector lies in its casting. Péter Blaskó, who had already demonstrated his explosive talent for portraying extreme emotions in his Miskolc performances, is by turns ridiculous, pitiful and terrifying as the Mayor.” [24] The strength of his portrayal lay in the fact that “contrary to earlier acting conventions, he does not present a cowardly small-town dignitary. Instead, he builds the character according to a meticulously elaborated social choreography, and this makes every gesture simultaneously real and absurd […]”. [25]

In Tamás Ascher’s celebrated production of Three Sisters, Blaskó took over the role of Second Lieutenant Fedotik from Sándor Gáspár. With this production, the company achieved significant international success: “Vienna, Geneva, Zurich, Rome… And more distant continents: Caracas, Hong Kong, Australia. The performances were accompanied by English and German interpretation or subtitles, and the audiences understood them. The list of memorable tours is long; in London, at the Old Vic, we performed Three Sisters and The Government Inspector for two weeks, and the audiences applauded us on their feet.” [26]

After Three Sisters, Blaskó again appeared in a Chekhov play, this time Platonov, which premiered in Paris. As Voinitsev, he portrayed “the ecstatic delight of a foolish man in his imagined paradise, and then the catastrophe of his expulsion from that paradise, with such tragic and comic force that the mixture – the grotesque – could serve as a textbook example of the genre.” [27]

He also demonstrated his abilities as a comic actor. In Zsámbéki’s production of Shakespeare’s Twelfth Night, he delivered an outstanding performance as Malvolio. His portrayal was “one of the most finely crafted characters in the production. […] A powerful, ambitious courtier and a mockingly deceived romantic hero: Blaskó excels above all in bringing to life the grotesque traits of the character.” [28] And it was not only the critics who were impressed: “The audience’s spontaneous and thunderous applause is not always an infallible measure of the quality of a performance – but in this case, it is a hundred per cent endorsement of Blaskó’s Malvolio.” [29]

After seven successful years, Blaskó left the Katona József Theatre and embarked on a freelance career. He appeared on the stages of many theatres, including the Merlin Merlin Theatre, Kolibri Theatre, Radnóti Theatre, József Attila Theatre, and the Gyula Castle Theatre. In 1995, Imre Csiszár – well known from his Miskolc years – was appointed director of the Thália Theatre, and Blaskó followed him there. At Thália, he once again encountered Molière’s Tartuffe, though this time he played Orgon, opposite Károly Eperjes’s Tartuffe. “[…] he now had the chance to show the other side of the coin. His Orgon, a worthy antipode to Eperjes’s character, is likewise born of self-irony. He not only caricatures his own blind foolishness, but – drawing on his physical expressiveness and employing a commedia dell’arte-like buffoonery – also embodies paternal intransigence and the householder’s imperious severity as he seeks to counterbalance his pettiness.” [30]

Only a few months later, the theatre’s operations became untenable due to insufficient state funding, and eventually the company lost access to its building. They continued to work under the name Thália Társaság (Thália Company), but the financial circumstances remained far from ideal, and in the long term the productions could not be sustained.

In 1997, Blaskó began appearing again in provincial theatres. At the Szeged National Theatre, he played the title role of the Master in The Master and Margarita, directed by János Szikora, and appeared there again in Cyrano de Bergerac as Le Bret. He was then invited to perform in Veszprém, where he took on the role of János Kádár [General Secretary of the Hungarian Socialist Workers’ Party, 1956–1988] in Kegyelem (lit. Mercy), directed by László Vándorfi. The play, based on a work by András Szigethy, was described as a “revelation thanks to Péter Blaskó’s brilliant portrayal of Kádár. He neither parodies nor heroises the figure; instead, he reveals his inner motivations with passionate intensity and the weariness of a man exhausted by painful self-examination and self-absorption.” [31]

According to critics, Blaskó succeeded in embodying Kádár authentically without resorting to superficial imitation: “Many could mimic or parody Kádár, but Blaskó managed to become him – not only in his gestures but also in his voice and entire presence. With a performance that is both deeply moving and revealing, he rises to the status of a co-creator of the drama.” [32] Thanks to the production’s success, the play was soon added to the repertoire in Budapest as well, at the Pesti Theatre. In the capital, “Blaskó again played a decisive role in the production’s success. Perhaps because, while he alludes only minimally to the original in his voice and posture, he consistently shows Kádár as broken, disoriented, and psychologically shattered.” [33]

Following the triumph of Mercy, Blaskó was offered several roles at the Vígszínház (Comedy Theatre, Budapest), appearing in Cat on a Hot Tin Roof, Tóték (The Tót Family, by István Örkény), and Summerfolk. Then, in 2002, at the invitation of playwright and theatre director György Schwajda, he returned to the National Theatre for a new production of Peer Gynt. This time he was cast as the Button Moulder. “[…] His Button Moulder is the understanding civil servant of death. He serves his vocation unwaveringly, yet leaves the condemned a small loophole for one final self-deception. Blaskó, who was once an excellent Peer, now reveals more of Ibsen’s meaning in this nuanced and deeply considered supporting role than the rest of the production combined.” [34]

Before finally committing himself to the National Theatre, Blaskó played the title role in a summer production of Titus Andronicus at the Gyula Castle Theatre. In László Bocsárdi’s staging, “Blaskó, moving sluggishly yet euphorically and speaking in a drawn-out manner, characterises the self-sacrificing fool with a constant fever of activity, a compulsive urge to act, and ecstatic pathos – a man who is by no means free from vanity. He sees himself from the outside even as he does what he does.” [35] As Titus, “he delivers a performance that is complex, mature, profound, and nuanced with both tragic and comic tones, and from this bloody horror-tragedy he draws out the true drama of a human being”. [36]

After joining the National Theatre, Blaskó once again had the opportunity to explore a wide range of roles. The succession of successful performances demonstrated that – after many years – he had found a new artistic home within the walls of the theatre. In 2004, under the direction of Tamás Jordán, he played Ignác Solmay in Buborékok (lit. Bubbles, by Gergely Csiky). “Péter Blaskó’s acting underwent a renewal in the role of the impoverished landowner Ignác Solmay – a gentleman of refined manners who wisely resigns himself to his wife’s eccentricities and domineering behaviour, yet eventually rebels, first covertly and then openly.” [37] In his performance, paternal love and strictness towards his children are present simultaneously. [38]

Following Bubbles, he took on the role of Woland in The Master and Margarita, directed by János Szász. A few years earlier, in Szeged, he had already appeared in a stage adaptation of Bulgakov’s novel, portraying the Master as “a soft-spoken, well-intentioned Russian intellectual”. [39] As Woland, however, he presented the polar opposite: “an unshakeable, sardonic guru”. [40] As the embodiment of Satan, “his deliberately affected accent, studied articulation, angular movements and wild emotional outbursts offered glimpses into those dark dimensions where there is nothing but destruction, cold calculation, murderous irony, and emotionless will”. [41]

A few years later, he played Harpagon in The Miser, approaching the role from a fresh perspective. “He is curious. Vain. Hesitant. Naive. Industrious. Unpretentious. Sometimes he even forgets that miserliness is his primary calling. This does not, however, risk making us like him or even partly forgive him. Blaskó’s performance approaches comedy from rougher angles, and his Harpagon is not devoid of tragic undertones.” [42] His interpretation was highly complex: Harpagon is “not merely greedy but passionately, with every fibre of his being, desires the last penny. Every single coin is a stake – indeed, a matter of life and death – and this lust for possession assumes alarming forms in Blaskó’s portrayal. Yet his performance is never exaggerated: every gesture and every action is driven by real intention, and there is no energy he does not mobilise to express it.” [43]

Summing up Péter Blaskó’s career, one can say that he demonstrated his versatility across a remarkable range of theatres and productions. In certain works, he appeared multiple times, often portraying opposing characters (for instance, the title role and the Button Moulder in Peer Gynt, or the Master and Woland in The Master and Margarita). He played both small supporting roles and major leads, Shakespearean heroes and Molière’s comic creations, sometimes as negative figures, sometimes as positive ones. “Péter Blaskó’s great trick is unpredictability: even those who know him well and have seen him many times cannot anticipate what he will be like in his next role.” [44]

Although his career unfolded somewhat slowly at first, he ultimately found the collaborators – such as Sándor Beke and Imre Csiszár – who were able to bring out the best in him. He gained invaluable experience in provincial theatres, where he learned how to project his voice so that it would reach the very back rows of a large auditorium, and also how to assert himself on stage under chamber-theatre conditions. He later put this experience to good use in the capital. Blaskó continued searching for his artistic place until he found it – and once he committed himself to a theatre or a creative partner, he remained steadfast in representing their values. He shaped his career consciously, leaving nothing to chance. If he felt he was not being offered enough opportunities for serious work, he preferred to move on. He began his journey at the National Theatre, and it now seems that he has once again found his place there. “One of the pillars of Péter Blaskó’s success is undoubtedly the humility he consciously assumes in his own best interests. His performances blend seamlessly into the director’s concept, and he reserves for himself only one decision: to choose whom he will obey. […] For him, it is essential to be able to embrace the director’s vision and style; once that is in place, he is ready to relinquish himself completely on stage and transform into anything.” [45]

[2016]

[1] N. N.: Blaskó Péter – A legizgalmasabb a sok arcú embert bemutatni (lit. Péter Blaskó – The Most Exciting Task Is to Portray a Man of Many Faces). Heves Megyei Népújság, 20 August 1976.
[2] N. N.: Ibid.
[3] B.: Üvegcsapda (lit. Glass Trap). Képes Újság, 22 March 1969.
[4] György Jósfay: Üvegcsapda (lit. Glass Trap). Tükör, 1 April 1969.
[5] István Csík: Bemutatjuk Blaskó Pétert (lit. Introducing Péter Blaskó). Film Színház Muzsika, 19 April 1975.
[6] Béla Gyarmati: Csongor és Tünde – Díszelőadás (lit. Csongor and Tünde – Gala Performance). Déli Hírlap, 25 August 1973.
[7] Béla Gyarmati: Haramiák – Péntek esti premier (lit. The Robbers – Friday Night Premiere). Déli Hírlap, 18 January 1975.
[8] László Márkusz: Optimista tragédia – Visnyevszkij műve az egri színházban (lit. An Optimistic Tragedy – Vishnevsky’s Play at the Eger Theatre). Népújság, 1 January 1976.
[9] Lajos Papp: Optimista tragédia (lit. An Optimistic Tragedy). Déli Hírlap, 9 November 1975.
[10] N. N.: Blaskó Péter – A legizgalmasabb a sok arcú embert bemutatni (lit. Péter Blaskó – The Most Exciting Task Is to Portray a Man of Many Faces). Heves Megyei Népújság, 20 August 1976.
Note: Blaskó refers to the “Eger audience” because, at the time, the Miskolc theatre was operating jointly with the Eger company.
[11] Károly Bulla: Brecht elvtárs és szolgái – Szolnok: Puntila úr és szolgája, Matti (lit. Comrade Brecht and His Servants – Mr Puntila and His Man Matti in Szolnok). Film Színház Muzsika, 15 October 1977.
[12] Júlia Szekrényesy: Puntila úr szadista bája (lit. The Sadistic Charm of Mr Puntila). Élet és Irodalom, 19 November 1977.
[13] István Csík: Bemutatjuk Blaskó Pétert (lit. Introducing Péter Blaskó). Film Színház Muzsika, 19 April 1975.
[14] László Fábián: A színész színeváltozása (lit. The Metamorphosis of an Actor). Film Színház Muzsika, 5 July 1980.
[15] Tamás Koltai: Tartuffe - Molière vígjátéka Miskolcon (lit. Tartuffe – Molière’s Comedy in Miskolc). Népszabadság, 25 April 1980.
[16] Erzsébet Bogácsi: Színvallások – Beszélgetések Blaskó Péterrel és Tímár Évával (lit. Confessions – Conversations with Péter Blaskó and Éva Tímár). Magyar Nemzet, 28 July 1984.
[17] Péter György: Strindberg az éjszakában (lit. Strindberg in the Night). Színház, 1981/1.
[18] György Sas: Peer Gynt – Bemutató a Miskolci Nemzeti Színházban (lit. Peer Gynt – Premiere at the National Theatre of Miskolc). Észak-Magyarország, 26 April 1983.
[19] Dezső Kovács: Az álmok próbatétele – Ibsen Peer Gyntje a Miskolci Nemzeti Színházban (lit. The Test of Dreams – Ibsen’s Peer Gynt at the National Theatre of Miskolc). Népszabadság, 29 April 1983.
[20] László Fábián: Két klasszikus „átdolgozó" Miskolcon (lit. Two ‘Reworkers’ of the Classics in Miskolc). Film Színház Muzsika, 18 June 1983.
[21] Tamás Koltai: Az értelem eufóriája (lit. The Euphoria of Reason). Élet és Irodalom, 27 March 1987.
[22] Tamás Tarján: Galilei élete – Brecht-bemutató Miskolcon (lit. Life of Galileo – Brecht Premiere in Miskolc). Népszabadság, 6 April 1987.
[23] László Ablonczy: Az ember önmagát viszi kínpadra (lit. Man Takes Himself to the Rack). Hitel, 2014/9.
[24] Anna Földes: „Magatokon röhögtök!" – A revizor a Katona József Színházban (lit. ‘You’re Laughing at Yourselves!’ – The Government Inspector at the Katona József Theatre). Nők Lapja, 23 January 1988.
[25] Miklós Almási: Revizor a süllyesztőben – Gogol szatírája a Katona József Színházban (lit. The Government Inspector in the Sinking Pit – Gogol’s Satire at the Katona József Theatre). Népszabadság, 4 January 1988.
[26] László Ablonczy: Az ember önmagát viszi kínpadra (lit. Man Takes Himself to the Rack). Hitel, 2014/9.
[27] Judit Szántó: Gyilkosságok - orosz módra (lit. Murders – Russian Style). Színház, 1990/8.
[28] Dezső Kovács: Diadalmas ifjúság – A Vízkereszt a Katona József Színházban (lit. Triumphant Youth – Twelfth Night at the Katona József Theatre). Új Tükör, 28 May 1989.
[29] Tamás Barabás: Vízkereszt – Shakespeare a Katona József Színházban (lit. Twelfth Night – Shakespeare at the Katona József Theatre). Esti Hírlap, 11 May 1989.
[30] Katalin Metz: A reverendás szatír üzelmei (lit. The Schemes of the Cassocked Satyr). Új Magyarország, 9 January 1996.
[31] Dezső Kovács: Szigethy András - Kegyelem (lit. András Szigethy – Mercy). Kritika, 1998/5.
[32] Anna Földes: Rémálomjáték (lit. A Nightmare Play). Magyar Hírlap, 5 December 1998.
[33] László Zappe: A történelem áldozata (lit. A Victim of History). Népszabadság, 24 November 1998.
[34] Tamás Koltai: Ibsen konténerben (lit. Ibsen in a Container). Élet és Irodalom, 25 October 2002.
[35] Tamás Koltai: Foglalkozása hazafi (lit. Patriot by Profession). Élet és Irodalom, 22 August 2003.
[36] István Nánay: Költészet és valóság Gyulán (lit. Poetry and Reality in Gyula). Színház, 2003/10.
[37] M. G. P.: Csiky Gergely - Buborékok (lit. Gergely Csiky – Bubbles). Népszabadság, 23 February 2004.
[38] Ildikó Csizner: Szecessziós életképek (lit. Secessionist Vignettes). Zsöllye, 2004/3.
[39] Zsolt Hollósi: Woland evangéliuma (lit. The Gospel of Woland). Népszava, 22 March 1997.
[40] Tamás Koltai: Világfájdalom (lit. World-Weariness). Élet és Irodalom, 8 April 2005.
[41] Dezső Kovács: A Woland-revü (lit. The Woland Revue). Színház, 2005/8.
[42] Tamás Tarján: Ládácska (lit. Little Chest). Revizoronline.com, 20 October 2011. https://revizoronline.com/molire-a-fosveny-nemzeti-szinhaz/ (last accessed 15November 2025)
[43] Attila Nyulassy: Vegyük magunkra (lit. Let’s Take It Personally). 7óra7, 5 October 2011. https://7ora7.hu/2011/10/04/vegyuk_magunkra (last accessed 15November 2025)
[44] László Fábián: A színész színeváltozása (lit. The Metamorphosis of an Actor). Film Színház Muzsika, 5 July 1980.
[45] Judit Szántó: Mosbie-tól Strindbergig (lit. From Mosbie to Strindberg). Új Tükör, 25 January 1981.