Making bread from Mossadegh’s name
It can be said with certainty that this is the weakest work of Hadi Marzban on stage as a director in his whole life, and there is so much taste in choosing actors and performing scenes in this work that it assures us that this time with a ticket of one hundred thousand Tomans only for money The removal is ready and not worth seeing at all.
Theater News Base: He had wanted to stage the play for several years; By Shahram Rahimian. Dr. Noneh loves his wife more than Mossadegh. Since Corona came, the cast and executives have changed several times. There were a lot of margins, especially with the significant pains of the actor. We almost came to the conclusion that Marzban’s new work is probably not a good thing, but we did not stop there, and on World Theater Day [هفتم فروردین] We went to see it in the main hall of the city theater, what we saw and heard was much less like a theater with a ticket of one hundred thousand tomans and a hall of four hundred and fifty people in the main hall.
We saw more and more that this person is making money from Mossadegh’s name. Since I have seen most of Marzban’s work in the last three decades, I can definitely say that this is the weakest work that Hadi Marzban has done on stage. Hamed Komili, who played the role of Dr. Noon, because his speech is not theatrical and he has no experience in theater, his voice does not reach the audience or his voice is difficult and basically his expression is not suitable for theater.
In the game of body language, Kamili portrays Dr. Noon as a wretched and poor street man and his hands in a state of physical disability throughout, and it is very clear that he does not have a study and definition of this character who was Mossadegh’s friend; It is true that Dr. Noon tends to be more mobile than idealistic, but this is not a reason for Hamed Kamili to play this character in the lowest possible position. He could have had a hard-hitting performance of a shaky character without exposing this very poor game.
Standing and moving on the stage is an example of addicts, and perhaps a border guard or a complement to Dr. Noon’s weak character. But we remind Kamili and Marzban that twenty-five years ago Hassan Pourshirazi played the role of an addict in the Golden Tooth show, while the first, second or third role was not so good and privileged that the performance of some prominent actors was influenced by that work. Pourshirazi played and so on … Behnam Tashkar’s play in the role of Dr. Mossadegh is not worthy of this historical figure in any way. Of course, Behnam Tashkar knows the principles of acting on stage due to his theatrical origins, but his acting in Hadi Marzban’s play is due to the many roles he has played in comedy in cinema and television; It is placed under the shadow of these roles and is considered a caricature of this benevolent character in the history of Iran, because he has distanced himself from playing in serious and tough roles and it is better for him to continue making the same money in such roles..
In designing the scene of this work, like other works of Marzban, the audience is exposed to a half-story staircase decor, which was always convincingly justified by the lively writings of Akbar Radi in Hadi Marzban’s plays. But why the stage design should be similar to those works in this work is not believable and acceptable at all, and it seems that Marzban wanted to do it on stage with the least cost, or this work is reminiscent of his previous works for his audience. Belief and performance are wrong and work is different from work in nature and should be according to the subject, structure and context of the nature of the works; Fit scene design to be formed. The sub-characters in this show are very exaggerated in the game and the makeup and costume design; In other words, Latand or domination and ordinary people of Koi and Barzan are not seen in this play, and this is one of the misconceptions of Marzban in this very weak work.
The mezzanine has no meaning at all in this play and does not find an identity. The stopping or movement of the main and supporting actors is never a convincing reason for the audience, and it seems that the margins created and the haste in rehearsing to achieve the performance are the most important factors of this completely wrong mezzanine in any direction.. In the end, it can be said with certainty that this is the weakest work of Hadi Marzban on stage as a director in his whole life, and there is so much taste in choosing actors and performing scenes in this work that it assures us that this time with a ticket of one hundred thousand Tomans only Making money is ready and not worth seeing at all.