EXTRACTS FROM REVIEWS

"[...] Marie Richardsons Candida är sval och med ett stilla självförtroende som möjligen var mer radikalt på Shaws tid och Peter Anderssons Pastor Morell har pondus och ömklighet i fin kombination [...]
[...] Marie Richardson's Candida is chilly and with a silent self-confidence which was possibly more radical at Shaw's time, and Peter Andersson's Reverend Morell has a fine combination of authority and misery [...]
CANDIDA

Aftonbladet
Claes Wahlin, 20 January 2014.

"[...] I Marie Richardsons vackert värdiga gestaltning blir det extra uppenbart - hon är inte en kvinna som en man kan sätta på plats. Inför henne förvandlas rivalerna till pojkar i en sandlåda [...]
[...] In Marie Richardson's beautifully dignified interpretation it becomes particularly evident - she is not the kind of woman a man can put in her place. Facing her the rivals turn into boys in a sand box [...]
CANDIDA

Expressen
Nils Schwartz, 18 January 2014.

"[...] Marie Richardsons Marie låter Candida förhålla sig till honom [Marchbanks] som var han knähund, öser modersinstinkter över hans kantiga spenslighet. [...]
[...] Marie Richardsons lets Candida behave af if he [Marchbanks] is a lap dog, showering his awkward frailty with maternal instincts [...]
CANDIDA

Svenska Dagbladet
Lars Ring, 18 January 2014.

"[...] Skådespelarna är så bra i sina roller, alla är som klippt och skurna för sina karaktärer [...] Marie Richardsson växer under föreställlningens gång och kliver efter paus fram i rollen som Candida, en kvinna som vet vem hon är och vad hon vill [...]
[...] The actors are so good in their roles, all seem custom made for their characters [...] Marie Richardson grows throughout the performance and after the intermission she steps forward in the role as Candida, a woman who knows who she is and what she wants [...]
CANDIDA

Kulturbloggen
Rosemari Södergren, 18 January 2014.

"[...] Elin Klinga gör rollen Jag och färgar sin röst med intensiv känsla i stället för att försöka gestalta förlopp. Hon lyckas levandegöra texten, variera språk och volym och gör den koncentrerad och tillgänglig – liksom också Marie Richardson [...]
[...] Elin Klinga plays the character I and tinges her voice with intensive feeling instead of trying to convey a course of events. She succeeds in making the text come alive, varying language and volume and making it concentrated and accessible - the same applies to Marie Richardson [...]
JAG FÖRSVINNER (I DISAPPEAR)

Svenska Dagbladet
Lars Ring, 14 October 2013.

"[...] Under pjäsens gång tillkommer också fler och fler rollgestalter, Marie Richardsons väninna, mer matter-of-fact än Klingas gåtfulla gestalt. Josephine Alhankos dotter, Peter Engmans make och slutligen Lanna Olssons främmande kvinna. Karaktärerna rör sig i ett antytt katastroflandskap – det händer förfärliga saker runtomkring dem – men de hanterar situationerna de möter utan sentimentalitet. [...]
[...] During the course of the play more and more roles join in, Marie Richardson's Friend, more matter-of fact than Klinga's mysterious figure. Josephine Alhanko's Daughter, Peter Engman's Husband and finally Lanna Olsson's Female Stranger. The characters move about in a suggested disaster landscape - terrible things happen around them - but they handle the encountered itustions without sentimentality [...]
JAG FÖRSVINNER (I DISAPPEAR)

Nummer.se
Anna Hedelius, 13 October 2013.

"[...] Elin Klinga som pjäsens jag är rena uppvisningen av enastående skådespelarkonst. Marie Richardson som väninnan, Josephine Alhanko i rollen som väninnans dotter, Peter Engman som gör Min man och Lanna Olsson som den främmande kvinnan är högklassiga sekundanter i detta drömspel om överlevnad i vår egen tid [...]
[...] Elin Klinga as the I in the play is sheer exhibition of exceptional acting. Marie Richardson as the Friend, Josephine Alhanko playing the Friend's Daughter, Peter Engman who plays My Husband and Lanna Olsson as the Female Stranger are high class supporting actors in this Dream Play about survival in our time [...]
JAG FÖRSVINNER (I DISAPPEAR)

Kulturtidskriften Cora
Bo-Ingvar Kollberg, 12 October 2013.

"[...] Elin Klinga och Marie Richardson spelar stillsamt fram väninnerelationen till något mera spänt och prekärt [...]
[...] Elin Klinga and Marie Richardson quietly convey the friendship between the two women into something more intense and precarious [...]
JAG FÖRSVINNER (I DISAPPEAR)

Expressen
Nils Schwartz, 12 October 2013.

"[...] Lassgård was the first screen Wallander and arguably the best, so it’s a shame that this series of films has taken so long to appear. The Swedish actor is rather superb as the morose and moody ‘tec who struggles with his own problems, has a tendency to be brash without considering the consequences and clashes with his colleagues over his methods that generally don’t include them. He has a good supporting cast behind him as well, including Marie Richardson as Maja. The relationship between the two is quite interesting as they struggle to both come to terms with their relationship, initially as lovers and then continuing to work together once they split up [...] WALLANDER (DVD Box set)

myReviewer.com
Si Wooldridge, 23 June 2012.

"[...] "Marie Richardsson [sic] gör en storartad tolkning av Siri von Essen och föreställningen blir hennes pjäs [...] "... den uppdämda aggressiviteten dominerar [...] allra mest hos Marie Richardsons Siri von Essen, vars sorg och bitterhet över ett förfelat liv ropar på hämnd. Det är denna känsla som styr när hon spelar ut det egna äktenskapet med hjälp av pjäsen Den starkare, vars repetition vi bevittnar, och hugger mot makens allra sårbaraste mjukdelar. Det blir parodiskt och tvetydigt, men tårarna är här inget vapen utan uttryck för uppgivenhet och en väldig ensamhet. Det är storartat gjort och om Dramatenuppsättningen var Marie Davids pjäs, är den nu Siri von Essens" [...]
[...] "Marie Richardsson [sic] makes a magnificent interpretation of Siri von Essen and the performance becomes her play" [...] "... the pent-up aggressiveness dominates [...] most of all in Marie Richardson's Siri von Essen, whose grief and bitterness about a failed-in life clamours for vengeance. This is the dominant feeling when she plays off her own marriage through the play The Stronger, the rehearsal of which we witness, and slashes at her husband's most tender spots. It becomes parodic and ambiguous, but here the tears are no weapon but a sign of despair and immense loneliness. This is brilliantly done and if the staging at the Royal Dramatic Theatre was Marie David's play, it is now Siri von Essen's [...]
TRIBADERNAS NATT

Kulturtidskriften Cora
Bo-Ingvar Kollberg, 15 May 2012 (Swedish).

"[...] "Strindbergs allmänna förakt för kvinnor och det riktade hatet mot dem han har framför sig är så osannolikt och överdrivet (men trovärdigt) att det blir dråpligt, speciellt med tanke på hur blind han är för sina egna fel. Hans sura repliker i spända situationer får mig och hela publiken att skratta högt flera gånger, men aldrig utan att allvaret går förlorat. Det är mycket skickligt spelat av hela ensemblen, och framför allt av Shanti Roney och Marie Richardson " [...]
[...] "Strindberg's general contempt for women and the hatred he turns towards those in front of him is so unlikely and exaggerated (but credible) that it becomes deadly, especially considering how blind he is to his own shortcomings. His sulky lines in tense situations makes me laugh out loud along with the rest of the audience, but never without losing the seriousness. It is really well played by the whole cast, and above all by Shanti Roney and Marie Richardson" [...]
TRIBADERNAS NATT

Kulturdelen
Jenny B, 17 May 2012 (Swedish).

"[...] "Marie Richardson ger nerv och hetta åt Siri von Essen" [...]
[...] "Marie Richardson provides Siri von Essen with vigour and fire" [...]
TRIBADERNAS NATT

Kulturkoll
Camilla Janzon, 16 May 2012 (Swedish).

"[...] "Marie Richardsons Siri kämpar med sina demoner, sina frihetsdrömmar, sin ensamhet. Hennes gestalt uttrycker den sårbarhet som får sin spegelbild i den till synes onödiga figuren Viggo." [...]
[...] "Marie Richardson's Siri struggles with her demons, her dreams of freedom, her loneliness. Her character expresses the vulnerability which is reflected in the seemingly unnecessary character Viggo" [...]
TRIBADERNAS NATT

Expressen
Ulrika Stahre, 15 May 2012 (Swedish).

"[...] "Marie Richardsons är en lysande Siri von Essen. Intelligent, temperamentsfull, känslig-och-stark, dessutom vacker" [...]
[...] "Marie Richardson is a brilliant Siri von Essen. Intelligent, temperamental, sensitive-and-strong, besides beautiful" [...]
TRIBADERNAS NATT

Passagen Blogg
15 May 2012 (Swedish).

"[...] "Pjäsen balanserar några gånger på gränsen till burlesk, och gör ett par korta utflykter in i publikfriande penisavund. Ögonblick som gärna bytts ut till lite mer Marie Richardsson [sic] och Lina Englund, vars karaktärer, oavsett frigörelse och medvetenhet, blir en slags stöttepelare för Strindbergs genialitet när Berggren står för regin." [...]
[...] "The play sometimes borders on burlesque and makes a couple of sidetrips into audience relieving penis envy. Moments which might well be exchanged for a little more of Marie Richardsson [sic] and Lina Englund, whose characters, regardless of emancipation and awareness, become a kind of pillars of Strindberg's genius when Berggren directs" [...]
TRIBADERNAS NATT

Kulturbloggen
Johan Ranstam, 15 May 2012 (Swedish).

"[...] "Dirty dancing" är en fantastisk välgjord svensk musikal med högt underhållnings-värde. Den lämnar ingen oberörd och har potential att bli en långkörare. Sången har lämnats orörd på originalspråket engelska medan dialogen är på svenska. Det är genialiskt. En svensk översättning av sångtexten hade förstört hela känslan [...] Rollistan består av både kända och okända skådespelare och alla visar härliga prov på både sång och dans. Vem visste att Marie Richardson, Per Graffman och Björn Granath faktiskt kunde sjunga och det riktigt bra? [...] "
[...] "Dirty Dancing" is a magnificently well done Swedish musical with a high level of entertainment. It will leave nobody unmoved and has the potential of becoming a long-running show. The singing is in the original language, English, while the dialogue is in Swedish. This is brilliant. A Swedish translation of the lyrics would have ruined the whole feeling [...] The cast includes both well-known and unknown actors and everyone participates in the singing and dancing in a wonderful way. Who knew that Marie Richardson, Per Graffman and Björn Granath could actually sing and do this really well?" [...]
DIRTY DANCING, STOCKHOLM

Katrineholms Kuriren
Andreas Lindhe, 16 February 2012 (Swedish).

"[...] Scenrävarna Marie Richardson och Per Graffman som Babys föräldrar samt Björn Granath som hotelldirektör fyller sina biroller med både undertext och finess.[...] "
[...] Experienced performers Marie Richardson and Per Graffman as Baby's parents and Björn Granath as the hotel manager impart both subtext and finesse to their supporting characters.[...]"
DIRTY DANCING, STOCKHOLM

nummer.se
Anna Hedelius, 16 February 2012 (Swedish).

"[...] Marie Richardson lyckas ge Babys aningslösa mamma både skärpa och humör [...] "
[...] Marie Richardson succeeds in giving Baby's clueless mother both clarity and spirit [...]"
DIRTY DANCING, STOCKHOLM

Svenska Dagbladet
Karin Helander, 15 February 2012 (Swedish).

"[...] Det är som om personerna verkligen klivit ut ur vita duken. Scenerna glider in i varandra smidigt med hjälp av fiffig scenografi (Paul Edwards), ljusdesign och led-skärmar. När Marie Richardsons fru Houseman ryter: ”Sitt ner, Jake” till sin make strax före den avslutande dansen med det där berömda lyftet, ja då sitter också alla bitarna på plats i en utomordentligt slipad, snygg och sexig musikal.[...] "
[...] It's as if the characters stepped out of the screen. There is a gradual transition from one scene to the next due to a clever set design (Paul Edwards), lighting design and LED screens. When Marie Richardson's Mrs. Houseman roars "Sitt down, Jake" to her husband immediately before the concluding dance with the famous lift, then all the pieces are in place in an exquisitely smart, beautiful and sexy musical". [...]
DIRTY DANCING, STOCKHOLM

Dagens Nyheter
Johanna Paulsson, 16 February 2012 (Swedish).

"[...] Det finns mycket att glädja sig åt i den uppsättningen [...] Det gäller även skådespelare i mindre roller som Linus Wahlgren som stjäl de scener han medverkar i och nya komedifyndet Filip Johansson (som liknar en ung Björn Kjellman). Stark komisk talang bjuder även Jenny Lampa på som Babys storasyster Lisa. Mia Hjelte gör en stark insats som den olyckliga Penny. Lite förvånande ser man Marie Richardson i den lilla rollen som mamman, men hon gör det förstås bra. [...] "
[...] There are many things to enjoy in this production [...] This even applies for actors in supporting roles such as Linus Wahlgren, who stole the scenes he is in, and the new comedy talent Filip Johansson (who resembles a young Björn Kjellman). Another great comedy talent is Jenny Lampa as baby's older sister Lisa. Mia Hjelte makes a strong impression as the unhappy Penny. It is somewhat surprising to see Marie Richardson in the small part as the mother, but naturally she does well. [...]"
DIRTY DANCING, STOCKHOLM

UNT.SE
Björn G Stenberg, 16 February 2012 (Swedish).

"[...] Johan Rabaeus [...] är magnifik [...] Men regissören Gösta Ekman ger även de övriga skådespelarna utrymme och Marie Richardson övertygar som den cyniska äktenskapsmäklerskan Frosine, när hon lurar i en lättsmickrad Harpagon att unga kvinnor främst vill ha äldre män. Själv är Frosine ute efter pengar. Förstås."
[Johan Rabaeus [...] is magnificent [...] But director Gösta Ekman even makes room for the other actors and Marie Richardson is convincing as the cynical procuress Frosine, when she deludes an easily flattered Harpagon into believing that young women prefer older men. Frosine herself is just after the money. Naturally [...]
DEN GIRIGE (on tour)

Hallands Nyheter
Per Kågström, 3 December 2011 (Swedish).

"[...] Johan Rabaeus bygger successivt upp en enastående publikkontakt. Han tar sig underbara friheter med text och scenerier och tänjer och sträcker i replikerna så att Allan Bergstrands 40 år gamla översättning ibland övergår i ren rap.
Det hade lätt kunnat bli en enmansshow, men inte minst Marie Richardssons [sic] äktenskapsmäklerska, Christoffer Svenssons unge ädling och Pierre Wilkners poliskommissarie ger Rabaeus ett energifyllt motstånd[...]"
[...] Johan Rabaeus gradually builds up a unique contact with the audience. He takes wonderful liberties with text and scenes and stretches and extends the lines so the 40-year-old translation by Allan Bergstrand sometimes turn into rap.
This might have turned into a one man show, but especially Marie Richardsson's [sic] procuress, Christoffer Svensson's young nobleman and Pierre Wilkner's superintendent make up a strong opposition to Rabaeus [...]
DEN GIRIGE (on tour)

Gefle Dagblad
Gunilla Kindstrand, 21 November 2011 (Swedish).

"[...] Rabaeus skådespelarkonst bevisar själva poängen med teater, det är på samma gång subtilt och groteskt, känsligt och brutalt, överspelat och återhållet [...] Huvudrollens karaktär är förstås extra tacksam, liksom Marie Richardssons [sic] förljugna äktenskapsförmedlare Frosine och Omid Khansaris dubbelspelande Mäster Jacques – alla tre gör utmärkta versioner av pjäsens mer komplicerade karaktärer[...]"
[...] Rabaeus' acting proves the very point of theatre: at the same time it is subtle and grotesque, sensitive and brutal, overacted and restrained [...] Obviously the main character is especially rewarding, just like Marie Richardsson's [sic] mendacious procuress Frosine and Omid Khansari's double-dealing Master Jacques - all three portray more complicated characters in the play excellently [...]
DEN GIRIGE (on tour)

Östersunds Posten
Tomas Larsson, 14 November 2011 (Swedish).

"[...] Skådespeleriet är gott, förutom Johan Rabaeus fastnar särskilt Marie Richardsons utstuderade äktenskapsmäklerska Frosine och Rebecka Hemses återhållna Mariane."
[...] The acting is good, in addition to Johan Rabaeus it is especially Marie Richardson's cunning procuresss Frosine and Rebecka Hemse's restrained Mariane who are memorable [...]
DEN GIRIGE (on tour)

Länstidningen
13 November 2011 (Swedish).

"[...] Og skuespillet er en nydelse. Jonas Karlsson har fuldstændig styr på sin selvoptagede Hamlet-figur. Niels Ellegaard folder med komisk bravour rollen som Polonius ud. Mens stykkets kvinder er dem som tydeligst får os til at mærke at der er dybde og smerte bag lethedens løjer. Med rank ryg og spændthed i kroppen gør Marie Richardson indtryk som Gertrud. Mens Signe Kærup Hjort med stemme og kropssprog på fascinerende vis gør Ophelia til en meget skrøbelig skikkelse [...]"
[...] And the acting is a pleasure. Jonas Karlsson has his self-centred Hamlet-figure under complete control. Niels Ellegaard unfolds the role as Polonius with comical brilliance. While the women in the play are those who most distinctly make us feel there is depth and pain behind the lightness of the fun. With her back kept straight and tension in her body Marie Richardson leaves an impression as Gertrude. While Signe Kærup Hjort with her voice and body language in a fascinating way makes Ophelia quite a frail figure [...]
HAMLET

Aarhus Stiftstidende
Kirsten Dahl, 24 September 2011 (Danish).

"[...] Som Hamlets mor og onklens medsammensvorne medvirker endnu en svensk stjerne, Marie Richardson, der i begyndelsen lader sin figur være heftigt lattermild - vel et udtryk for sårbarhed og ubalance. Richardsons sceniske autoritet er stor. Hun er yderst nærværende, også når hun er tavs. [...]"
[...] As Hamlet's mother and the uncle's co-conspirator another Swedish star appears, Marie Richardson, who initially gives her character a zippy laughter - probably a sign of vulnerability and imbalance. Richardson's stage authority is great. She is very present, even when she is silent [...]
HAMLET

Kristeligt Dagblad
Claus Grymer, 27 September 2011 (Danish).

"[...] Kun dronning Gertrud er fejende flot i rød silkekjole og broderet silkemorgenkåbe med indkig til tyll og organza under skørtet. Den svenske skuespillerinde Marie Richardson har en naturlig skønhed og en herskerindeautoritet, som selv kostumedesigneren har måttet underlægge sig [...] Ikke én gang rører Claudius ved sin labre brud, til trods for at han jo netop har myrdet sin bror for at kunne score hende og dermed udleve sin liderlighed for både sex og magt. Og dér står Marie Richardssons [sic] Gertrud, smukkere end smuk, med rødt hår sat op til narrestreger med fiffigt indflettet grå enkehårlok. Forført, men urørt.
I stedet har Stefan Larsson gjort Hamlet-historien til et opgør mellem mor og søn. Her lykkes noget. Når Marie Richardson og Jonas Karlsson holder om hinanden i fortvivlet omfavnelse, mens de forsøger at nå ind til hinanden, så løfter forestillingen sig og bliver interessant. Her er en kamp mellem kærlighed og pligt, som kæmpes mellem nænsomme hænder og ømme stemmer. Her er nærvær og her udspilles Hamlettragedien i koncentrat [...]"
[...] Only Queen Gertrude is strikingly beautiful in a red silk dress and silk robe with embroidery and a glimpse of the tulle and organza under the skirt. The Swedish actress Marie Richardson has a natural beauty and regal authority, which even the costume designer has had to submit to [...] Not even once does Claudius touch his attractive bride, even though he has indeed just killed his brother in order to win her and thus fulfil his lust for both sex and power. There you have Marie Richardsson's [sic] Gertrude, the epitome of beauty, her red hair beautifully taken up with a single grey lock cleverly interwoven. Seduced, but untouched.
Instead Stefan Larsson has turned the Hamlet tale into a clash between mother and son. Here something is successful. When Marie Richardson and Jonas Karlsson hold each other in a despairing embrace, as they try to reach each other, the performance is raised and becomes interesting. Here there is a struggle between love and duty which is fought between gentle hands and tender voices. Here is a presence and here the Hamlet tragedy is taking place in concise form [...]
HAMLET

Information
Anne Middelboe Christensen, 26 September 2011 (Danish).

"[...] Samspelet mellan Erik Johansson och Marie Richardson (som för övrigt ska ha en eloge enbart för att hon för en gångs skull inte medverkar i en snutfilm) är så sensuellt och fantastiskt att jag blir alldeles till mig i trosorna. Det är så bra att jag rodnar. Heja Marie! [...]"
[...] The interplay between Erik Johansson and Marie Richardson (who incidentally deserves credit simply for not taking part in a cop series for a change) is so sensual and fantastic that I feel the heat of the blood. It is so good that I'm blushing. Well done Marie! [...]
VÅRA VÄNNERS LIV

onyancerat.se
Leiyah Rose Lindén, 2010 (Swedish).

"[...] Ytterligare tre delar gör föreställningen lysande. Marie Richardson som Manuela, mamman, är så bra i den nedtonade rollen. Hon bär sitt ok och visar både smärtan och förmågan att skratta bland tårarna [...]"
[...] Three additional things make this play brilliant. Marie Richardson as Manuela, the mother, is so good in the toned down role. She carries her yoke and shows both pain and the ability to laugh through the tears [...]
ALLT OM MIN MAMMA

QX
Magnus E A Hansson, 15 November 2008 (Swedish).

"[...] Som kvinde har man lyst til at række ind i skærmbilledet, ruske Linda (Marie Richardson) og råbe: Skrid fra ham. NU. Så stærkt formår skuespillere og instruktør at vise volden i ægteskabet. [...]"
[...] As a woman you feel like reaching into the screen, shake Linda (Marie Richardson) and yell: Leave him. NOW. So powerful is the embodiment by the actors and director of the violence within the marriage [...]
KUNGAMORDET

Fyens Stiftstidende
Marianne Koch, 14 April 2008 (Danish).

"[...] Reine Brynolfsson er meget overbevisende som Gert Jacobsson, og man bliver helt bange for ham. Det er lige før, at han er for ond, og jeg synes egentlig, at det ville være (endnu) mere interessant, hvis han i stedet for at være konstant ondt skulende, udadtil var mere charmerende, som psykopater ofte er det. Man kan godt undre sig over, at alle (partimedlemmer, Euroman og den søde Yasemin) falder for sådan en sur stodder. Men skræmmende er han, og man får i den grad sympati med Linda, der spilles smukt og sårbart af Marie Richardson[...]"
[...] Reine Brynolfsson is very convincing as Gert Jacobsson, and he scares you. But he is almost too evil, and I feel it would be (even) more impressive, if instead of constantly scowling wickedly, he would have been more charming on the surface, like psychopats often are. You may wonder why everyone (party members, Euroman and the sweet little Yasemin) fall for such a sulky bastard. But he is terrifying, and you feel an immense sympathy for Linda, who is played beautifully and vulnerably by Marie Richardson [...]
KUNGAMORDET

OnFilm
Freja Dam, 12 June 2008 (Danish).

"[...] Udviklingen i historien er ganske fin, og selv om man umiddelbart føler, at de forskellige figurer er en kende skabelonskårne, så begynder de langsomt at folde sig ud. Her skal især være ros til Marie Richardson, der i rollen som den forsmåede hustru, virkelig formår at illustrere den håbløse, nedværdigende position hun befinder sig i. Man forstår, at det ikke er så ligefrem at ryste et voldeligt forhold fra sig. Man kan sætte sig ind i at hun føler sig ensom samt helt og aldeles uden evner og endelig holder man med hende, når hun slutteligt bider fra sig [...]"
[...]The development of the story is fine, and even though initially you may feel the various characters are somewhat streotyped, they slowly begin to unfold. Special praise for Marie Richardson whose portrayal of the rejected wife really illustrates the hopeless, humiliating position she finds herself in. You understand it's not that easy to shake off a violent relationship. You can identify with her loneliness and powerlessness, and in the end you are rooting for her, when she finally fights back [...]
KUNGAMORDET

Movieglance
Alan Vittarp, 10 August 2008 (Danish).

"[...] Marie Rickardsson [sic] spelar den alkoholiserade och misshandlade frun och får på ett äkta sätt fram skräcken i hennes vardag som då och då byts ut mot upproriskt trots. [...]"
[...] Marie Rickardsson [sic] plays the alcoholic and battered wife and genuinely brings to light the terror of her everyday life which is occasionally replaced by rebellious defiance [...]
KUNGAMORDET

Trelleborgs Allehanda
Sofia Bergström , 26 feb 2008 (Swedish).

"[...] Lassgård som Wallander er nabolandets store filmpolitihelt. Det skjønner vi godt [...] Han spilte også Gunvald Larsson i Beck-filmene tidlig på 1990-tallet. Lassgård kan med andre ord sitt krimskuespillerfag. I filmen møter vi foruten Lassgård en annen gammel kjenning, hans kollega Maja. Som vanlig suverent tolket av Marie Richardson [...]"
[...] Lassgård as Wallander is the great police hero on film in our neighbouring country. We understand that [...] He also played the part of Gunvald Larsson in the Beck-movies in the early 1990s. Besides Lassgård we meet another old friend in the film, his colleague Maja. Brilliantly interpreted by Marie Richardson as usual [...]
PYRAMIDEN

Dagbladet
Tom Stalsberg, 2008 (Norwegian).

"[...] Marie Richardsson [sic] gör Gina Ekdal som en kvinna som sköter allting, en realist och familjeförsörjerska.[...]"
[...] Marie Richardsson plays Gina Ekdal like a woman who takes care of everything, a realist and a family provider.[...]
VILDANDEN / THE WILD DUCK

Svenska Dagbladet
Lars Ring, 5 November 2007 (Swedish).

"[...] Filmens styrke ligger i dens skuespillerpræstationer [...] Marie Richardson inkarnerer en moders lidelser som Eva [...]
[...] The strength of the film is in the actors' performances [...] Marie Richardson is the incarnation of a mother's suffering as Eva [...]
MUN MOT MUN / MOUTH TO MOUTH

Information
Liselotte Michelsen [Not online]
24 November 2006
(Danish).

"[...] Marie Richardsons nervesvækkede, forstenet sammenbidte mor er heller ikke at glemme, selv om hun bliver sendt ud på et sidespor af selvkonfrontation [...]"
[...] Marie Richardson's unbalanced, petrified hardheaded mother is not to be forgotten either, even though she is sent out on a sidetrack by self confrontation [...]
MUN MOT MUN / MOUTH TO MOUTH

Politiken
Søren Vinterberg
24 November 2006
(Danish).

"[...] Name cast — many of whom were in Runge's "Daybreak”"— is excellent. As Vera’s parents, Richardson and Andersson convincingly display a mixture of torment and shared guilt [...] MUN MOT MUN / MOUTH TO MOUTH

Variety
Gunnar Rehlin, 9 February 2006
(English).

"[...tonårigen Vera] har tappat greppet om sig själv och sin själ. Lika förlorade är Veras föräldrar, fenomenalt spelade av Peter Andersson och Marie Richardsson (sic)[...]"
[...]The teenager Vera...has lost control of herself and her soul. Equally lost are her parents, played phenomenally by Peter Andersson and Marie Richardsson (sic) [...]
MUN MOT MUN / MOUTH TO MOUTH

Corren
27 December 2005
(Swedish).

"[...] Ypperliga skådespelare drar här på sig sina roller som en andra hud och vandrar med beundransvärd tillförsikt över den minerade marken. Det är stundtals helt makalöst, och allt annat än ett regn av guldbaggar över Mun mot mun vore en skandal. [...]
[...] Here superb actors pull on their roles like a second skin and walk with admirable confidence across the minefield. At times completely unequalled, and anything else than a downpour of guldbagges for Mouht to Mouth would be scandalous [...] [A Guldbagge is the annual film award given out by the Swedish Film Institute. "Mouth to Mouth" did in fact receive seven Guldbagge nominations that year, and Magnus Krepper won for Best Supporting Actor]
MUN MOT MUN / MOUTH TO MOUTH

SvD
22 December 2005
(Swedish).

"[...] I mästerliga Om jag vänder mig om hade Runge skådespelarnas totala tillit och han får dem också här att uträtta stordåd: Marie Richardson och Peter Andersson bär sin inkapslade sorg och saknad på ett absolut trovärdigt sätt" [...]
[...] In the brilliant film Daybreak, Björn Runge had the total reliance of the actors and even in this one [Mouth to Mouth] he makes them perform great achievements: Marie Richardson and Peter Andersson carry their pent-up grief and longing in an absolutely credible manner [...]
MUN MOT MUN / MOUTH TO MOUTH

Expressen
Mats Bråstedt, 22 December 2005
(Swedish).

"[...] 'Mun mot mun' är en film som verkligen berör. En stor eloge också till samtliga skådespelare, som lyckades gestalta sina relativt svåra roller på ett magnifikt sätt[...] Årets bästa svenska film är ett faktum" [...]
[...] 'Mouth th Mouth' is a film which really affects you. Even great praise for all the actors, who succeed in portraying their difficult roles in a magnificent way [...] Definitely the best Swedish film of the year [...]
MUN MOT MUN / MOUTH TO MOUTH

Ciné.se
Jesper Åkerlind, 20 December 2005
(Swedish).

"[...] Vellykket er ... Rolf Lassgård [som] den følelsesforskrækkede Wallander [...]. Bundtroværdig er han, godt bakket op af et team, der blandt andre består af svenske Marie Richardson og danske Peter Gantzler. Tilsammen gør de "Det næste skridt" til en ferm krimi, der bevarer spændingen til det sidste.
[...] Rolf Lassgård is successful as the emotionally reluctant Wallander [...] He is extremely credible, backed up by a team among others consisting of Swedish Marie Richardson and Danish Peter Gantzler. Together they make "Steget efter" into a clever crime story, which is exciting until the very end [...]
STEGET EFTER

Berlingske Tidense
Ann Lind Andersen [Not online]
18 November 2005
(Danish).

"[...] Marie Richardson har atter nøglerollen som Maja Thylander [sic], kollegaen som var Wallanders kæreste og stadig vil ham det bedre end godt.
[...] Once again Marie Richardson plays the key part as Maja Thylander [sic], the colleague who was once Wallander's girlfriend and who still wants him to feel better than good" [...]
STEGET EFTER

Weekendavisen
Bo Green Jensen [Not online]
18 November 2005
(Danish).

"[...] Mye av filmens styrke ligger i et tett og velspillende ensemble, især av Wallanders nærmeste medarbeidere Maja (Marie Richardson) og kollegaen han så feilaktig trodde han kjente - Kalle Svedberg (Christer Fant) [...]
[...] Much of the strength of the film lies in a close and well playing ensemble, especially Wallander's closest co-workers Maja (Marie Richardson) and the colleague he so mistakenly thought he knew - Kalle Svedberg (Christer Fant) [...]
STEGET EFTER

VG
Ellen Margrethe Sand, 15 September 2005
(Norwegian).

"[...] Andreas Wilson er dog ikke den eneste der leverer varen. Også Johan Rabaeus som stedfaderen med den propre næve og Marie Richardson som moderen der stiltiende ser til yder rigtig gode præstationer[...]"
[...] However, Andreas Wilson is not the only one who delivers. Also Johan rabaeus as the stepfather who is handy with a fist and Marie Richardson as the mother watching tacitly put up really fine performances [...]
ONDSKAN / EVIL

OnFilm
Stefan Nielsen, 2004 (Danish).

"[...] It's tough, uncompromising material, played to the hilt by a terrific cast, of whom only August (Anakin's mother in Star Wars Episode I: The Phantom Menace) and Richardson (from Eyes Wide Shut) may be familiar to non-Scandinavian audiences [...] OM JAG VÄNDER MIG OM / DAYBREAK

Film 4

"[...] Trekanten Persbrandt, Richardson og Endre formidler nært og intenst sine personer, alle i dyptgripende livskriser. Noen vil kunne innvende at Lotta-figuren er endimensjonalt tegnet, men Richardson er en sterk nok skuespiller til å gjøre henne levende gjenkjennelig [...]
[...] The love triangle Persbrandt, Richardson and Endre closely and intensively convey their characters, who are all going through deep personal crises. Someone might claim the Lotta-character is outlined one-dimensionally, but Richardson is an adequately powerful actress to make her recognizably come alive [...]
ALLE ELSKER ALICE / EVERYONE LOVES ALICE

Dagbladet
Liv Jørgensen, 2002 (Norwegian).

"[...]Det är kul att få se Mikael Persbrandt i något annat än snutfilmer. Men den av de etablerade skådespelarna som gör allra bäst i från sig är Marie Richardson. Vilken intensitet. [...]
[...]It is nice to be able to watch Mikael Persbrandt in something different than cop movies. But of the established actors the one who does best is Marie Richardson. What intensity. [...]
ALLE ELSKER ALICE / EVERYONE LOVES ALICE

Södermanlands Nyheter
Mari Edman, 14 November 2002 (Swedish).

"[...] Marie Richardson är formidabel som den rasande övergivna. Hennes raseriutbrott är en stor del av filmens behållning. [...]
[...] Marie Richardson is formidable as the furious abandoned wife. Her fits of rage have a great share in the film's assets [...]
ALLE ELSKER ALICE / EVERYONE LOVES ALICE

Corren
4 October 2002 (Swedish).

"[...] Lillasyster har två barn medan den äldsta (en mycket närvarande Marie Richardson) har kämpat med sin bristande fruktbarhet i sju år [...]
[...] The youngest sister has two children whereas the eldest (a very present Marie Richardson) has struggled with infertility for seven years [...]
DET BLIR ALDRIG SOM MAN TÄNKT SIG/SHIT HAPPENS

Nöjesguiden
23 May, 2000.

"[...] Even though "Eyes Wide Shut," like its source story, is seen from the male p.o.v. and largely concerns the obsessions, fears and limitations of its protagonist, pic is unique in the late director's oeuvre in that it's the women who far outshine the men. Kidman is sensational and luminous as she inhabits her character, who reps a convincing argument for the view that women are far more cognizant and expressive of their emotions than are men. When absent from the story during her husband's wanderings, numerous other actresses willingly take up the slack in a succession of brief but indelible turns, most notably the intense Richardson as the bereaved neurotic daughter, the insinuating Shaw as the inviting prostie and Fay Masterson as the latter's upfront roommate [...] EYES WIDE SHUT

Variety
Todd McCarthy, 1999.

"[...] Skuespillerne, med Bjørn Floberg i spissen som Rolandsen, gjør aldeles utmerket den jobben de er satt til å gjøre. De tre kvinnene, Marie Richardson som Elise, Kjersti Holmen som hans forlovede jomfru van Loos og ikke minst Elisabeth Sand som prestefrue med store lengsler, er store lyspunkt i filmen [...]"
[...] The actors, lead by Bjørn Floberg as Rolandsen, do the job they are asked to do excellently. The three women, Marie Richardson as Elise, Kjersti Holmen as his fiancéé Miss van Loos and especially Elisabeth Sand as the vicar's wife with great yearnings, are major bright spots in the film [...]
TELEGRAFISTEN [The Telegraphist]

Verdens Gang
Astrid Slettbakk

"[...] Husstanden omfatter endvidere den vege søn, der fører regnskab efter fantasimetoden, og Macks sværmeriske datter Elisa (en både attråværdig og skarp Marie Richardson) [...] Samspillet mellem nordmanden Floberg, danskeren Ernst og svenskerne Kulle og Richardson kunne faktisk fungere som skoleeksempel på, at skandinaviske co-produktioner godt kan lykkes" [...]
[...] The household even includes the weak son, who keeps accounts according to the fantasy method, and Mack's romantic daughter Elisa (a both attractive and sharp Marie Richardson) ... The interplay between Norwegian Floberg, Danish Ernst and Swedish Kulle and Richardson could actually work as a classic example of the fact that Scandinavian co-productions could work well [...]
TELEGRAFISTEN [The Telegraphist]

Weekendavisen
Bo Green Jensen [Not online]
1 July 1994.