REVIEWS: 

 

"Maia Morgenstern takes over the stage with a solid part, that suits her like a glove. (…) Mircea Rusu, with an exceptional performance, carries his character to a more and more possible death, slipping from the illusion that his fellow men will protect him, to the certainty of an absurd ending. (…) The Bulgarian director Alexander Morfov created a powerful performance, well put together, filled with tension, with memorable scenes, easy to follow, managing to employ all the potential of the Grand Hall, through an excellent technique of placing the characters into the acting space. The set design, done by another Bulgarian artist, Nikola Toromanov, reproduces in fine details the set of a railway station, the center of the town, with a restaurant, café and a boutique, with the doctor’s and mayor’s offices and also the police station, thus always offering the spectator a different perspective." 

Professionals Visit Bucharest | Dan Boicea, Adevărul literar şi artistic, 12.12.2011 

 

"Around the essential question about which he talked at the premiere, that being - if nowadays a poor man can remain honest?, the director projected a social setting of a great characterial and psychological richness, obviously focusing on the trajectory of this famous visit that devastates the existence of the citizens in the little town of Gullen, but also the soul of the rich woman arrived here to revenge a past of humiliation. He manages to achieve both goals, due to his science to construct, through which he balances different episodes, by following the course of the action from one pole of the conflict to the other one. (…) Klara Zahanasian, the spectacular character, finds in Maia Morgenstern the ideal “coat”, given by the elegance and class which the actress knows how to exhibit. At the other end, Mircea Rusu confers to Ill humility and humanity, in a nuanced performance, ranging from the joviality produced by the news of Klara’s arrival to the resigned acceptance of her verdict. The actor has many good moments, of warm human display, and that makes the others’ contradictory feelings and paradoxical states of mind to grow. A certain balance between dignity, cowardly capitulations and resignation ensures the success of Mircea Rusu’s performance. (...) With a mastered art of portraying this world, by multiplying the representative prototypes, the director fills the stage with the quaint and at the same time dramatic life of the little town, illustrated in detail through realistic elements, but also with some remarkable symbolic openings. (...) The most impressive moments yet, come by the creative contribution of the scenographer Nikola Toromanov (costumes: Andrada Chiriac), who, by unexpectedly exploring the possibilities of NTB’s Grand Hall (little exploited by local artists), composes unforgettable moments, through their beauty, expressivity and semantic value." 

The Visit - a Production in all its Might | Doina Papp, Revista 22, 24.04.2012 

 

"Alexander Morfov - the director of the performance, Nikola Toromanov – the creator of the set, Andrada Chiriac – the designer of the costumes, Chris Jaeger – light designer and the choreographer Galina Bobeicu produced an impressive show, through its: creativity, dynamic, professional solidness, posture and through the accuracy of the proposal. To all this is added a display of acting forces worthy of a prestigious institution as a national theatre. (...) I don’t know how many of us believed Ion Caramitru when he announced that the activity of the theatre he is running won’t be disturbed. For sure, even fewer of us would have believed that in this period of time we will see, at the Grand Hall, such a production that exploited to the maximum the artistic and technical potential of the NTB."

Maia Morgenstern in The Visit | Răzvana Niţă, port.ro, 05.12.2011  

 

"The staging is monumental and this is due to the creativity of the Bulgarian director (Alexander Morfov) and of the set designer (Nikola Toromanov), supported by the technical facilities of the Grand Hall, with an unusual functionality. In the spectacular and easy to change setting, there is an entire world, because the cast is numerous and so are the extras. (...) The way the crowd is manipulated by the millionaire is subtly woven on stage. People’s dignity is benevolently guided towards betrayal (…). The hypocritical crowd only wants money, more and more money and thus, the moral principles are annihilated."

The Price of Conscience between a Bottle of Vodka and a Million Dollars | Maria Sârbu, jurnalul.ro, 05.12.2011

 

"We witness what is called a great staging, a super-production, with a numerous cast, and many extras whose movements are precisely and efficiently coordinated. It is beyond any doubt that Alexander Morfov knows how to organize and coordinate ensembles, that he is a master of group scenes, that it’s easy for him to move naturally and convincingly the aforementioned groups, it’s clear that he is passionate for the visual elements of theatre. (…) Mircea Albulescu is remarkable in playing the Professor, a role that marks a solo moment of great refinement, even emotional, carefully and skillfully counterpointed through all that will later mean a more and more emphasized putting into brackets of the dignity and reason of the character who will end up bowing to the will of majority. A majority in a moral decline, involution gradually revealed by the performance." 

The Visit | Mircea Morariu, Cronica Veche, 01.05 - 30.06.2012