This is a “Hamlet” of our times, demanding a complete renewal of the world. The hero of the performance is the collapsing world.
Haris Pasovic, MES Festival, 1991. Sarajevo, Bosnia and Herzegovina.

If Hans Neuenfels turns Shakespeare into a disciple of Freud, George Tabori into a brother of Kafka, Benn Besson into a posthumous Brecht, with Tomaz Pandur he becomes a connoisseur of the esoteric.
Hans Norbert Jocks, “Westdeutsche Zeitung”, 1991. Düsseldorf, Germany.

In this production of “Hamlet”, the monumental, cold chambers of the Danish court are contrasted with the inner world of its hero, who, filled with anxiety and crushed by an insoluble doubt, has closed himself into his personal hell.
Boris B. Hrovat, “Vecernji list”, 1990. Zagreb, Croatia.

Hamlet is a dreamer who cannot draw the line between life and dreams and who is not sure whether he himself is dreaming or all the phantasms haunting Elsinore are dreaming about him...
Andrej Inkret, “Delo”, 1990. Ljubljana, Slovenia.

This is a “Hamlet” densely populated with images of never-ending intricacies and unpredictabilities of being in the transition from timelessness to eternity; it is a vitality pregnant with tension of waiting and calmness of explosion.
Lojze Smasek, “Vecer”, 1990. Maribor, Slovenia.

The overall effect is oneiric; a surrealistic dream in dark monochromatic tones with flashes of light and color throughout.
John Maxim, “The Sun”, 1992. Mexico City, Mexico.

A hermaphroditic blend of high aestheticism and cruel realism makes Pandur’s creation a somnambulant performance. The exposure of the Elsinore’s crime is carried out with a cold-blooded precision. Death takes its toll with icy elegance.
Davor Spisic, “Glas Slavonije”, 1990. Osijek, Croatia.