LET THE RIGHT ONE IN

LET THE RIGHT ONE IN
  • by John Ajvide Lindqvist
  • Translation: Bogdan Budeș
  • Directed by: Vlad Cristache
  • Set Design: Mădălina Niculae Și Andreea Tecla
  • Lighting Design: Cristi Șimon
  • Sound Design: Liviu Stoica
  • Stage Adaptation: Jack Thorne
Premiera: 29 November 2019
Duration: 2h 10min, no intermission
16

Oskar is a shy teenager, bullied by schoolmates, suffocated by an unstable mother and ignored by a selfish father. Eli is a mysterious teenager who doesn't feel the cold, has never seen a Rubik's cube and leaves the house only at night. The performance is a poetic thriller, a love story between Oskar - a lonely kid and Eli - the child-vampire, two vulnerable outsiders who cannot find their place in the world and who manage to save each other.


The situation imagined by the Swedish novelist John Ajvide Lindqvist is so strange, through the bloody events and the supernatural nature of one of the main characters, but also through the paradoxical relationship of adolescent love, that a multitude of interpretations, meditations and emotions may arise.
 

Cast

Photo Gallery

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Reviews

With Let the Right One In (in the playful universe of the teenager Oskar? In his ultimately cheerful and vigilante-disturbed destiny?), the degree of symbolic complexity is augmented. We find ourselves on a journey where love is a battle against death, emerging from the depths of the world. The opening is harsh (the murder of the first victim—but... "custom and mercy are in vain," aren't they?), as are Jonny (Ștefan Mihai) and Micke's (Florin Aioane) bullying exercises. On the other side, there's Hakan, the tender and fate-burdened assassin (Iulian Enache meticulously builds a tragic Sisyphus whose mountain is love, weighed down by temporal limits for a being beyond the rules of passing time) and Oskar's mother (Luiza Sarivan—in a dual role with Mirela Pană—portrays a being tormented by misfortune and fragile sensitivity, calling for solidarity). If in The Memory of Water the father is present only as an effigy, differently engraved in the daughters' memories, here he appears in a triple role: the real one (Dan Cojocaru) as Oskar's father, an insidiously traumatic absence, an escapist gay figure; the substitute, the gym teacher (Liviu Manolache, who also plays the policeman), a figure of friendly, calm, cheerful, and naive optimism; finally, the father-brother-husband-lover made of perishable flesh, an unconscious inheritance in a chain that includes only Hakan and Oskar, while hinting at others. The protagonists of this extreme love story, Eli and Oskar, offer the opportunity to encounter two very young and exceptionally talented actors: Ecaterina Lupu and Theodor Șoptelea. Both skillfully balance playfulness, fear, and sentimental stubbornness, shaping a love story like any other, regardless of species. Ultimately, it is the meeting of two planets, which also generates a process of transfer benefiting individualization. Initially and inevitably childish, Oskar discovers his masculinity through Eli and her reactivity, driven not only by hunger but also by a sense of justice. Initially concealing her survival instinct, Eli (re)discovers her emotional and human dimension alongside Oskar. Each knocks on the other's emotional door, and they are let in, first and foremost, to discover themselves. (Doru Mareș, Amfiteatru)

https://amfiteatru.com/2019/12/18/memorii-marine/