Bang

Chronicles:

“The story (essentially a political and social satire) begins as a comedy with horror accents, then degenerates into a hysteria of world proportions: Ralf Bang is born, a man who, even before he is born, has a conscience his mission in the world. That of generating suffering, of creating chaos and fear. And all this gives him pleasure. (…) From the very first scenes, we enter a roller coaster of energies, where everything happens at maximum intensity and always with a smile on our faces. (…) It’s a live show that goes crazy, and that thing, in itself, can be exciting, because you wonder how far it can go.” (Irina Zlotea, Live Mass destruction, magazine Teatrul Azi, no. 10-11/2019, page 222)

“Betting on the game of identification – lucid distancing from the character, Iulia Colan has a spectacular evolution. Aplomb, stage intelligence, undoubted expressiveness are the assets with which the actress passes this role in the right performance. Vlad Udrescu builds with a slightly caricature touch the soft partner in the couple, devoted father and understanding husband, determined to fire the nanny because she is… too sexy. In his absolutely delicious monologues (translated by Elise Wilk) in which all the words start with “s” or “r”, the actor doses the build-up well, creates effects, achieving real moments of virtuosity. (…) The Mayenburg team – Theodor Cristian Popescu does not lie. With scores well covered by the actors and many funny moments, Bang puts an ironic mirror to the dominants of today’s world. The result is a bittersweet and lively show.” (Cristina Rusiecki, What a mother does for lifestreaming them. “Bang”, directed by Theodor-Cristian Popescu / ro Magazine / July 16, 2019)

“Ralfie: bully at the playground, precocious “violinist” who attacks his teacher, possessor of a gun that he keeps pointed at those who would like to cross the threshold of the “open house”, but especially the possessor to a beautiful soul “deep inside me, in my terrible thoughts”, has all the data necessary for a little dictator. Physical effort, energy, an organic voracity make the interpretation of George Albert Costea unforgettable. When the individual is too strong and tries to absorb everything, he himself must be absorbed, dissolved into the crowd, into nothingness.”

(Daniela Firescu, Micul mare dictator, revista Ramuri, nr. 8 / 2019 http://revistaramuri.ro/index.php?id=4454&editie=158&autor=de%20Daniela%20Firescu)

“The ugly is beautiful and the beautiful is ugly”, George Albert Costea tells us almost defeated through the voice of Ralf Bang (or vice versa?). This optics, not only overturned, but also distorted, is present head-to-tail in the recital offered by Costea, whose tour de force does not weaken in intensity and liveliness, even when it is necessary to address the audience, which unfortunately still rings one phone at a time .(…) From the mechanical expressions at the beginning, in which she is in perfect harmony with Vlad Udrescu, to the dance in a certain sequence and the accents of genuine maternal suffering at the end, Iulia Colan maintains the same captivating expressiveness. The same thing, but in its own key, is admirable in the case of Romaniţa Ionescu, whose versatility is also intelligently used and integrated into the dynamics of the show. “Bang” physically and emotionally demands both parties: actors and audience.” (Mădălina Nica, Bang! And the cold after, SpectActor magazine 2/2019 / page 47/ http://tncms.ro/reviste/38/pdf/02092019124817.pdf)

“In “Bang”, the particular thing is that looking at the audience (without necessarily speaking to them) comes as a reaction to what is happening on stage: Are we seeing the same thing? What do you think of what you see? What do you think? It’s good? They were? Is that fair? Is it moral? We are thus trying to create an ambiguity related to the boundary between actor and character, on the one hand, and between fiction and reality, on the other. This ‘bridge’ is a silent one… the spectators formulate these answers for themselves; we’re not so intrusive and we’re not forcing them to formulate some answers out loud… and that’s very interesting to watch in the show.” (Marius Dobrin in dialogue with George Albert Costea, “At least my eyes can still dance”, SpectActor magazine 2/2019) http://tncms.ro/reviste/38/pdf/02092019124817.pdf

“Bang doesn’t manage the audience, it even pushes it to extremes, with scenes where the aesthetic of the ugly becomes the main artistic vehicle. (…) In the interpretation of George Albert Costea, the personality of Ralf Bang is built like a toy of legos, each scene adding a new piece to the odious profile, in a continuous exacerbation. George manages to captivate with an excellent performance, in a perfectly timed oratorical frenzy from one end to the other of the two hour performance.” (Anda Simion, Bang, an uncomfortable satire show, Scrisul Romanian / No. 7 (191) / July 2019 / page 21)

‘Bang’ is a play about political sentiment, about the irrational desire for explosions and sensations in the political sphere, a biting satire on the desire to be macho for leaders who offer simple solutions to complex problems.” (Marius von Mayenburg)

“I am a man and I am on my way to the top, and whoever gets in my way will be destroyed.” (Bang/Marius von Mayenburg)

Ralf Bang is truly a strong man. Right from the womb he strangled his twin sister. As a child he felt superior to the adult world. Then he experienced a rapid rise, permanently placing himself against his parents, against school and all educational institutions, against all those who do not love him unconditionally.