"The actors involved in this show fit their roles like gloves.(...)

Everything is very carefully dosed, the roles are worked by each one so as to send when in one direction and when in the other, as they should. We don't know if the author of the play would like the show, but what we do know is that Claudiu Goga's show is one, as they used to say, with all the buttons buttoned up, with outstanding actors in every scene and in total".

Nicolae Prelipceanu, Viața Românească - The life of theatre people beyond the stage  

“The Country House tries to combine comedy and tragedy into one perfect package. Just like Chekhov, the writer Margulies is a specialist in sad regrets and hazy looks over the roads not taken, and the stage director has created an atmosphere of scenes from the "contemporary life in the countryside", giving each character the right to waste his/her life with faith. Margulies, Goga, and the great cast bring all this together in a scene that suggests that the members of the core family might eventually understand each other. Under the coordination of the skillful Claudiu Goga, elegant and clean, as usual, the show unfolds like a solid clip, sprinkled with «well-chosen» words, painful episodes of telling the truth, quarrels and fights. Add an appropriate scenery highlighted by the light-design and a well-chosen cast and you will have a pleasant evening.”

Mădălina Dumitrache, Bel Esprit – Chekhov in American Clothes - “The Country House”  

“The Country House directed by Claudiu Goga is a modern and profound show that will make you think, with strong interpretations, not to mention the actor Marius Manole who is at his best. It is a performance worth seeing, mentioning that it lasts 3 hours (with a break of 15 minutes included) and the coagulation of its spell takes place in a slower manner.”

Alexandra Ares, Liternet - Success and failure in a family of artists - The Country House  

“The Country House turns out to be a very well-structured play, as Margulies manages to adapt in a very ingenious way the two great Chekovian texts - “The Seagull” and “Uncle Vanya”. And it does this without falling into pathos and clichés and without creating a pale copy of the 2 texts. On the contrary, we are talking about a text that is as fresh as possible, modern, full of pulsating life, in which the characters meet, go around, use each other only to realize, in the end, that the most important thing in the world is family and that without its members, we are lost and alone. I missed such a show as the one built by Claudiu Goga, this director who knows how to lead a team so beautifully, emphasizing the presence of each actor on stage, putting them in the spotlight, but also reserving his well-deserved place, through the refined direction and focusing very much on the clear transmission of the texts he works with.”  

Tudor Costin Sicomaș, Republika Kritica - When Chekhov meets Hollywood   

“Maia Morgenstern's Anna Peterson is a Hollywood Arkadina in pants, a modern, strong, authoritarian woman, an overflowing energy that throws herself, without armor and safety net, on the edge of the volcano, sometimes on the verge of hysteria, easily associated with the recognizable energy of the actress, a desperate mother who has lost her daughter and who would do anything to forget, at least for a moment, the pain, which she skillfully dresses in layers of apparent indifference, some tender notes and some explosions of anger of the unspoken, very suitable for an actress who lives with the nostalgia of her former glory to which she clings desperately. The drama of aging settles relentlessly over the personal tragedy, adding shrill notes of despair through the ever-increasing losses (of attention, memory, and even voice) that she gathers in her quiver of helplessness as she seeks to always show strength  and determination around her.” 

Luciana Antofi, Blog - The fourth wall or witness to a new post-Chekhov testament: “The country house”, moments of wandering from the same one hundred years of solitude at the National Theatre from Bucharest   

"It is to be appreciated the way the show begins and ends, with the light of a spotlight walking across the set of the house, as if exploring and searching for something that cannot be found. If we stop for a minute to analyze the play, every character is on a quest, whether we are talking about celebrity, love, fame, appreciation and so on. But this quest is often doomed to failure because of the contexts and intrigues that arise.

Claudiu Goga's staging is not an easy one, the show is not a relaxing weekend show, as one might think, as it poses some pretty intense life issues, and there were even some spectators with tears in their eyes at the applause. But the cast is outstanding and the acting adds even more value to the text, especially in the intensely dramatic moments."

Andrei Bulboacă, Eight Reasons - Country House. From Broadway to Bucharest  

Translated by Andreea Codrea-Boeriu  

2022 - The performance was presented on the occasion of the Romanian National Theatres Meeting in Kishinev - "Artists for peace, freedom, hope".