"To be seen or to remain invisible, to present an image that does not correspond to reality or to be yourself, to be loved for what you are and not for what others see in you or to give up love for good? (...) Irina Movila conveys fragility coupled with an immense power of expression. (...) The weight of the performance really rests on her shoulders and she manages, only she knows how, to find answers to countless human anxieties.

 It takes you a while to pull yourself together after this encounter with her.(...) I understood at the end of the show that this role, Nora, is one of those that changes your inner geography. The interesting characters overlap in you, they decant and can majorly influence your sensibility, your thinking, the way you look at people and act in your personal life."

Loreta Popa, Adevărul - While we are alive we can choose  

"In a lively, minimalist but ambivalent set design (already the trademark of the inexhaustible Maria Miu), Nora is an inner voice, with psychedelic and hallucinatory effects, in which masks and side games appear and disappear. Irina Movila has both sparkle and lucidity, becoming the voice of a Nore increasingly aware of her femininity and the need to discover herself.

Her scene partners have playful availabilities, from the laughter-crying of Dr Rank (Mihai Muntenita) to the expressiveness of an iron fist in a silk glove like lawyer Krogstad (Serban Pavlu). The three child-doctors (Bianca Marinescu, Geo Visan and Robert Herea) in the house haunted by the obsession of a forgery on a receipt sublimate the director's idea of the dollhouse, even with living, hedonistic or haunted dolls."

Dan Mircea Cipariu, Book Agency - Femininities explored and exorcised  

"What is striking about Chris Simion-Mercurian's production is the set created by Maria Miu, as there is a long-standing artistic symbiosis between the director and the set designer. Henrik Ibsen's imagined doll's house is an aseptic, pure space, reminiscent of a hospital ward, with only one opening to the world: the black screen, a window into the darkness of the world, beyond which appear signs, symbols, ghosts, freedom like the Morgana Girl. (...)

What is Irina Movila's Nora like? Loving, ready to make any sacrifice for the man she loves, a child in the company of her three children, sometimes happy, sometimes humiliated and crushed."

Gabriela Hurezean, Muses & weapons - Premiere at TNB: Nora, the "doll" who wakes up  

"What is most important, what is absolutely vital in NTB version of Ibsen's text is the highlighting of Nora Helmer's generosity towards her husband, a generosity that ultimately costs her domestic peace, but which leads her to the key to her freedom.

We are talking about (...) a truly important performance in the contemporary Romanian theatre space that succeeds, through the innovative and unique vision of the director Chris Simion-Mercurian, to (re)bring to attention one of the most powerful and significant texts of the universal dramaturgy, which she uses as a mobilization of a current and burning social and cultural discussion."

Tudor Costin Sicomas, Republika Kritica - Between dream, madness and reality or about today's world-hospice. "Nora" by Henrik Ibsen at NTB  

Translated by Andreea Codrea-Boeriu