It seems that Martin Dejdar simply lives by his own rules. When it comes to lifestyle, he definitely does not follow the crowd. Do you confirm? What leads you to that? Is it about freedom, experiences, or simply that you like it this way?
Well, if a person is lucky enough to be able to do or work more or less as they wish, then it is of course a huge advantage. But that is not always the case. And in our profession, one cannot really choose. You are always dependent on whether someone wants you somewhere, casts you, calls you, or not, and then you might end up sitting in some basement, for example. (he said with a smile, instead of meetings, they were really basement spaces, editor's note)
You are a graduate and a proud bearer of the spirit of the Ypsilon Theatre – that unique style and way of working that has inspired dozens of actors and theatre creators and influenced entire generations of audiences. Do you think that we, as a Czech nation, are capable of expressing that community spirit again, as we did for the National Theatre when we contributed to it? To contribute to your alma mater as well?
I think it is not necessary. The Ypsilon Theatre is definitely not something that would challenge the entire nation to build a new theatre. It is not, and I think that no one from that theatre would approach it that way either. The Ypsilon Theatre is a different theatre. Jan Schmid (the founder and long-time artistic director of the Ypsilon Theatre) invented a new form of theatre altogether. He combined actors, non-actors, music, theatre, and mainly authorial theatre. Which is actually the essence of Ypsilon, that even when a play is brought in that someone has already written, it is still worked on in an authorial way. So even if Shakespeare's plays or classics were done, something completely different always emerged than what the audiences knew and were used to from classical theatres.
Ypsilonka also did classic titles in its own way. And not just theatrical, but also operatic. Here, audiences can see our interpretation of Rusalka, The Bartered Bride. We played Mozart in Prague, where the entire Don Giovanni was performed in fifteen minutes. The actors themselves play instruments, they sing. Mirek Kořínek, who has been there from the beginning, is truly a musical genius. He managed to teach us to play instruments without us knowing how. He created an orchestra from us that really plays. And many audiences do not believe that it is us. I think such a theatre should continue to live on. Because it is something completely new, different. And it should have its place in the theatrical world.
We are a theatre that has about 180 seats. I think it is almost impossible to transform it into a private entity. Of course, I am not saying that it is possible to change some way of dramaturgy. To revive the theatre, which I think has succeeded in the last season. That revival is evidently there. It is possible to reduce the ensemble. It is possible to find a cheaper space, for example. There are ways to save money. But I would still look for a common viable path.
What can we, the audience, do to ensure that Ypsilonka remains?
I think nothing. I do not see a way to provoke any public discussions about it or any petitions. Because that will not bring anything good. The media will pick it up and start writing negative things. Brutality on social media from haters, as they are called today, or hateful people is insane. And among those supporters, there is a person who does not need to vent their frustration, will not write anything, but will come and buy a ticket. Which is essential for us. And that is also the only thing we can, in quotes, ask of you and offer you quality when you come. There are titles that have been playing for a long time. For example, “Head of a Medusa” with Jirka Lábus, with Jarka Kretschner and Petr Vacek.
You are, for me, the prototype of that fair guy from the eighties – honest, straightforward, and reliable. A man who knows every emotion. How did that Dejdar signature get into the flask? And what more? Youcreated a fragrance for others as well.
That was the idea of a gentleman I have been working with for years, who created a network of men's clothing stores. For several years he convinced me to add a gentleman's perfume to the clothing. I resisted for a long time. Because I knew of personalities who were many times above me and their perfume did not catch on. So I thought that going into this water made no sense.
But they regularly pressured me every three months. At that time, my family was living in America, where I was traveling, and in one store, I discovered a perfume that they only had there. It could not be bought anywhere else. I started using it. Upon my return, I said, if you make it smell like this, then I will go for it.
I never thought that it could succeed here in the Czech Republic. And a month later, I already had a sample and my jaw dropped. It smelled just as I wanted. I gave my word and had to go for it. I came up with the name DayDee and it has been going strong for ten years. Because the perfume was successful, we decided it was good to start dealing with something else, because acting is not a stable income. My son worked with the team around Carlos Vémola. He approached him, he agreed, and it immediately became a hit in his merchandising. And we went further. The third was Pasta (David Pastrňák – a Czech hockey player playing abroad). He is a guy who likes to dress extravagantly and it suits him. Next came the first women's perfume with Alice Bendová. Then Michal David and now in the fall, there will be Patricie Pagáčová.
You play at the National Theatre in Bílá voda. You climbed the stairs from the basement to the grand stage. How does it feel to perform in such different environments?
Great. I have always longed for that. To step onto that stage. Even though it is not the National Theatre, it is the Stavovské Theatre, but it is the stage of the National Theatre. I am fascinated by it, I simply love it. I loved that space. Even when I was a guest in Karlín, many people told me that after transitioning from our basement to that big stage, I would be overwhelmed. And no, right from the first second, I loved it. And I prefer to be there with the audience on that huge stage. When we played “Singing in the Rain,” I had several solo scenes there and that completely fascinated me. When those thousand people are with you.
Are you ever moved when you stand there?
Yes. During the curtain calls. Quite normally. Specifically during “Bílá voda.” I usually get goosebumps. And I am not ashamed to say that tears come to my eyes. It is definitely a fulfilled dream. Today it may be different, I do not know how young actors feel about it. For me, it has always been some kind of peak to stand on that stage. As you said at the beginning. When the nation built its theatre. It was a certain goal for me. I am not saying it is fulfilled, because to the Water (the location of the National Theatre), I would need to walk a few more meters. But it is some kind of fulfillment of that effort and that journey. Moreover, it is an excellent performance, great. I love it, I do not have any gigantic role in it. I am there for just a few minutes, but I enjoy it. I am not afraid of that space, but I respect it.
You have a Czech Lion, TýTý awards... only Thálie is missing. Will it connect with the National Theatre now? So you can celebrate a hat trick?
I think not, that this role of mine is definitely not for Thálie.
So something else will come?
I hope so. A hat trick would be nice.
You are a hockey player in body and soul, and your charity team HC OLYMP, composed of popular artists and athletes, is opening its 20th season. You founded it inspired by the successful series of Czech Television “Last Season.” You connect sports and help. Is it possible to further deepen this connection? What are your plans for the near future and the year 2026?
Well, wait, better put this in quotes. I am an amateur, a big hockey amateur and enthusiast. Of course, the beginnings were great; when the series was aired, we traveled a lot. Over the years, it has decreased, but we still travel. Now in September, we are starting the 20th season, a jubilee one. We are changing the visuals, we started shooting a Podcast from Olymp here in the studio. I handed this creation over to the young people in the team. They know exactly TikTok, YouTube, what and how to do it. I just “direct” and coordinate somehow. For the 20 years, we want to do six matches. Three now in the fall and three in the spring. We already have a different system. I am inspired by the Harlem Globetrotters (an American exhibition basketball team), with their shows.
I never wanted to just play hockey, but I always wanted it to be a show. So that the whole family could come to see it. There was always some additional charge for them and interest. So, with us, the Olympia Prague team travels, 16 figure skaters, we have competitions for the audience, stuntmen on ice. It is simply a show. Now we do it so that both teams are us. We have it divided. White, black jersey, and we play against each other.
We want to rent stadiums ourselves and bring it basically like a theatre. We are looking for partners; it cannot be funded just from ticket sales to keep it for charity. We will select specific stories at each location where we will play so that the money stays there. The highlight of this is the planned match in August 2026, which should mirror our first series match of Jágertteam with Olymp. At that time, it was really 99% of the guys who played in Nagano. The last few years have been really difficult not only from a financial perspective. Arranging everything, matches, organizers, players, and mainly time. We basically do it with two people. Everything is of course done for free. Over the 20 years, we have distributed 20 million crowns. Without any media support, it was collected in stadiums among people and partners. Everywhere we played, they were incredibly accommodating.
I decided that either we will succeed and get back up. And it will make sense, or we will close everything with a match celebrating 20 years and Olymp as a charitable hockey team of personalities will end. From now on, we will just go and play hockey.
Lábus plays Dejdar's mother. At first glance, it sounds crazy, but it’s true!! With this biggest legend of the Czech Republic, you already have your Christ years behind you. Bart has become part of your DNA. What do you find appealing about this little rogue? Which scene or episode was difficult to voice?
The musical pieces are complicated, where a lot of singing is involved. Normally, you learn it for a month. Here you come into the studio, they play it for you, and you have to catch that melody right away, even if you don't know it, and get it into the words. There were moments when we got really stuck, it just didn't fit. In the choral parts, where the whole family sang. Given that today, unlike when we started, everyone is in the studio separately, and hitting that second one is extremely difficult.
I find that family appealing in what may not seem so at first glance. Because Homer Bárta keeps choking, he keeps playing pranks on him. And the result is that they always love each other. They always end up together, that family. No matter what is there. And they are not vulgar. As far as I remember, there hasn't been a swear word.
They have that in common with Ozzák. Both are basically rebellious, but they are incredibly decent. They leave you wondering what their strength is, that it works. It is not first-rate and cheap vulgarity.
I think it is precisely because of what you say, that there is no first-rate cheap vulgarity. Today there are many people in the public space. They have performances and are brutally vulgar. For some, it fits. And for others, it doesn't. It pulls you by the ears. And The Simpsons, even Comeback, are well written and thought out. The foundation is great. And it does not need that vulgarity for people to go with it and laugh.
Ozzák... this is a brand! He performed with Visací zámek. He has his beer – Husťan and a lot more. Metalheads take him as one of their own. It is not Martin Dejdar in the role of Ozzák, it is simply Ozzák. He is like a king with his own world. What do you take from him? What can a person take from him?
Hmm... maybe his view of the world. “Chill, brother.” I miss that. I don't have it. What do we have in common? We are both beer drinkers who love rock music. Sometimes I would like to be able to do his proper salami business.
And the meeting of Ozzák with Ozzy?
It wasn’t long. It was a hell of a mess because Ozzy, I feel, didn’t even know where he was. It was at a concert under Bílá hora. He just looked and kept staring at my wig. And a legendary quote was born: “What is the fucking this?” And he has a beautiful recording of him saying the sentence “Who is the fucking Ozzák?”
There is still talk of the Comeback comeback. Will there be one?
I think there will not be one.
Are you sorry about that?
I am quite sorry because that potential is definitely there. About two years ago, it was considered a lot. We are trying to do something about it, but it is not entirely simple due to copyright issues. We tried some sketches with my brother - Tomáš Matonoha that were successful. We will see. I have some agreement with TV Nova that we can make Husťan beer and related merchandise. One of our friends, Pepa from Jilemnice, has an amazing pop culture museum, with special figurines. He also made a figurine of Ozzák.
Major Stouhal. Every time I see him, I have the impression that this man can stop even the heartbeat with his gaze. How do you play this boss?
Very well. When I started, I had a meeting with the screenwriters and dramaturges because I wanted to create a character. To have character and be clearly named in one sentence. I want it this way. As an actor, it helps me a lot. I have some behavioral pattern and I can keep it up. And then it can also entertain people. I wanted to be completely different from how they knew me so far. I even had problems with that in my family. They said not to be such an unsympathetic figure.
Your role in the white coat. A balanced essence of Dr. House and Štrosmajer. Pediatrician Kráťa.
That was a challenge. Again, I said, let’s completely shoot for the stars. That figure is asocial. Which I enjoyed. A different position. It plays well for me because I have those boundaries in which I can move, and I play some character. It is not always the same.
Your face has a familiar voice and Karel Gott. That presentation touched everyone. It struck deep into the heart. Over 6 million views on YouTube.
Really? I didn’t even know it had that many. This is one of the biggest experiences of my career.
You managed to portray a person who was an incredible persona even in a state when he was not feeling well at all. He agreed and accepted the possibility of being criticized. He must have respected you a lot.
The whole situation around it was not easy at all. It was very complicated. About a month before, I went to see Karel at Bertramka and we talked about it. A week later he called me and said, “Hey, don’t be mad. I looked at it. They are all talented and good there, and if I went into it, they would write again that I am old and pushing myself among the young.” I understood that. He was already after those first lung diseases. So I arranged for a substitute duet with Ondra Ruml.
Six days before the finale, a phone call. Karel Gott. “Hey, I’ve changed my mind. I would do it with you.” At that moment, I totally freaked out. And at the same time, I was incredibly happy. Karel asked if it could be kept completely secret because he still had those breathing problems. And the carousel of arrangements began. Meanwhile, I was training with Ondra Ruml. I had to learn two things.
With Ondra and with Karel in English. The first rehearsal on Wednesday at noon. Everyone was at lunch. And we, that Karel and I would try it twice. He didn’t sing it even once. And tomorrow it was supposed to be filmed. Karel decided that he would rather not go through the rehearsal. And we would do it in the evening. He sang it like a god, without a single mistake.
Your life in one sentence?
I think I have circled the globe several times and my life is worth several generations.
Motto of Martin Dejdar?
You can't make a pineapple out of a beet.
- Text: Helena Volfová
