William Shakespeare
A Midsummer Night's Dream
''...this 'Dream' falls into the very top of the domestic productions in the closing year, not to say the gasping year. (...) There's not a single bad actor in the play, there's even no mediocrity, everything is arranged to the last detail. (...) Being that all is a dream, that the theatre and life intertwine up to the point of unrecognizability, ironic frisking with the text, especially when it is in rhymed verse, is also possible, as well as the actors' self-irony; so that it seems that the entire production is sprinkled with a little Brechtian magic dust which gives us the impression that the theatre is more than unobligatory acting.'' (Jasen Boko, ''Globus'')
''Shakespeare's 'A Midsummer Night's Dream' directed by Macedonian director Alexander Popovski is the best ensemble production in Gavella in the last ten years. (...) Popovski choice and motivating of the cast is excellent. He made an imaginative, funny, obscene, but also painful reconstruction of the seemingly frivolous Shakespeare's saga of love.'' (Tomislav Čadež, ''Jutarnji List'')
''The production is full of charge that explodes in a polyphony of acting, in the music, in the set design, in the spleen that consumes the entire stage and spreads on to the audience which becomes a single, director's dream. (...) The cast did a wonderful job. It rarely happens, and this time it really did happen, that all of the actors have their artistic moment. Two of the actors stand out though, both dramaturgically and creativelly, Pero Kvrgić and Ozren Grabarić. Kvrgić's Puck moves and pushes the events with its magical expressivity; he knows why it's important to dream. (...) A brilliant and a rarely seen performance is given by Ozren Grabarić in the role of Bottom. (...) He mirrored both the power of the dream and the reality of the awakening.'' (Andrija Tunjić, ''Vjesnik'')
''...the new 'A Midsummer Night's Dream'' will undoubtedly bring people to the theatre.'' (Maja Stanetti, ''Večernji List'')
''Popovski's pop-approach suits Hrvoje Klobučar, who gives his best performance yet, but it also suits all who like to play with the theatre – from Ozren Grabarić in the role of the ass, which he used to the fullest, to Janko Rakoš and Sven Šestak.'' (Igor Ružić, Radio 101)
''Dijak brings joy to the stage, along with the self-inflicting unrest and an almost jubilating enthusiasm. And while Pero Kvrgić capitalizes the ambiguities of Puck's capability in erotic confusion in a Brechtian manner, Dijak manages to play Kvrgić's opposite: he manages to reach the naiveté or the organic emotion of rapture. That is an extremelly difficult stage achievement.'' (Nataša Govedić, ''Novi List'')
