Seasons Archive

The Visit

by Friedrich Dürrenmatt

The Visit

by Friedrich Dürrenmatt

Translation: Maşa Dinescu, Alexander Morfov
Alexander Morfov
Andrada Chiriac
Nikola Toromanov
Galina Bobeicu
Assistant Scenography:
Daria NiGht, Adeline Andreea Bădescu (decor)
Light design:
Chris Jaeger
Assistant Director:
Ana Cristea, Vlad Stănescu
Gönül Aptdula

Premiere: 03.12.2011

Last performance: 06.01.2019

Duration: 3 h 10 min / Pause: 20 min


VIP - 100 lei (loja oficială)
Cat. I - 50 lei
Cat. II - 40 lei
Cat. III - 20 lei (reducere pentru elevi, studenți și pensionari)

One of the most important playwrights in the world, with a play that became a classic, raises a more acute question, today, more than ever: Can a million dollars buy the consciousness of an entire city? A text about humanity reduced to the scale of a modest provincial market, an implacable mores satire which annihilates the barriers between the victims and the executioners.

A show with an amazingly graphic staging and surprisingly dynamic and that brilliantly values the innumerable technical possibilities of the Great Hall. The fabulous scenography inventively recreates a city in full movement in order to give the show the impression that it is in the middle of the action. A mix of ferocious comedy and drama, The Visit is a show about guilt, revenge and gluttony, supported by a formidable team of artists from Bulgaria (Alexander Morfov - staging, Nikola Toromanov - scenography) and Great Britain (Chris Jaeger - lighting design) and by great actors of the National Theatre from Bucharest.                                     

A show built on an inconvenient interrogation: what is the price of our consciousness - piles of dollars or, maybe, 30 silver coins?

Translated by: Izabella Feher

MTTLC, Bucharest University

Klara Zachanassian: Maia Morgenstern Alfred Ill - Miller: Mircea Rusu
His wife: Afrodita Androne His daughter: Sorina Ştefănescu
His son: Emilian Mârnea The Professor: Alexandru Hasnaş
The Mayor: Marius Rizea Police Officer: Răzvan Oprea
The Priest: Dragoş Ionescu The Painter: Mihai Călin
Hofbauer: Marcelo-S Cobzariu The Medicine Man: Dorin Andone
The Servant: Costel Constantin Loby, The Conductor: Ovidiu Cuncea
The Station Master, Koby: Mihai Calotă The Seventh Husband: Mihai Munteniţă
Marllene, the mayor`s assistant: Victoria Dicu Helge: Costina Cheyrouze
Fulvia Folosea
The Mayor`s Wife: Erika Băieşu Hunziger: Axel Moustache
Wily: Alex Călin Hauser, Picolo: Idris Clate
Maid: Adriana Aldea
Cristiana Ioniţă
Antonia Din
Alexandra Cotfas
Klara`s assistant: Diana Stancu
Otilia`s friend: Senina Colceru
Păunescu Aurora
Orphan: Miriam Rizea
The Mayor`s daughter: Alexandra Suciu Sales woman: Beatrice Rubică
Ana Maria Bercu
Citizens: Zibilianu Florentina
Mateescu Simina
Nina Teodorescu
Mihai Clodeanu
Laurențiu Andronescu
Eugen Mareș
Negulete Silviu
Viorel Florea
Citizen: Vasile Niculușcă
Waiter: Bogdan Costea
Eduard Cîrlan
The friend of the Ill`s son: Petru Ancuța
Bartender: Mihai Bunea Tehnical extras: Silviu Maluțan
Enea Alexandru
Andrei Cătălin
Popescu Alexandru
Ionescu Adrian
Anghel Robert
Neacșu Marian

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.    

Răzvana Niţă, - Maia Morgenstern, in Visit  

The staging is monumental and this is due to the creativity of the Bulgarian director (Alexander Morfov) and 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.

Maria Sârbu, Jurnalul Naţional – The price of conscience, between the vodka bottle and the billion dollars   

„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 office and also the police station, thus offering the spectator a different perspective always.”

Dan Boicea, Adevărul literar şi artistic – Professionals, visiting Bucharest 

“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 from 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 another. (…)   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, which, by unexpectedly exploring the possibilities of NTB’s Grand Hall (little exploited by local artists), composes unforgettable moments, through their beauty, expressivity and semantical value.

Doina Papp, Revista 22, Bucureştiul cultural 113 – The Visit, a performance in all its might  

"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 afore mentioned 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, emotional even, 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.”

Mircea Morariu, Cronica Veche nr. 5-6 (16-17) – The Visit   


Translated by Silvia Nastasie

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