Director: Matjaž Pograjc
Dramaturge: Dubravko Mihanović
Stage Design: Tomaž Štrucl
Stage Designers and Model Authors: Paola Lugarić, Ivan Brozina, Dominik Meštrović
Costume Design: Marita Ćopo
Music: Marko Brdnik
Choreography: Branko Potočan
Video Design: Luka Dekleva
Lighting Design: Zdravko Stolnik
Voice and Speech Consultant: Đurđa Škavić
Video director: Ante Delač
Assistant Director: Edo Kalebić
Assistant Director and Assistant Video Director: Brina Klampfer
Assistant Dramaturge: Robin Mikulić
Photography: Jasenko Rasol
The production’s visual identity: Vanja Cuculić / Studio Cuculić

CAST:

Felix: Ozren Gabarić
Ann: Nataša Janjić
Gerry: Sven Medvešek
Louise; the Clerk: Bojana Gregorić Vejzović
George: Enes Vejzović
Psychotherapist: Ana Kvrgić
Anton: Živko Anočić
Lara: Martina Čvek
Stefan: Franjo Dijak
Leyla: Anja Đurinović
Sera: Ivana Bolanča
Malik: Nikola Baće
Mykola: Darko Milas
Dane; Medic; Clerk; Investigator; Boy and Boy2: Filip Križan
Cleaner: Dijana Vidušin

Stage Manager: Ana Dulčić
Prompter at rehearsals: Andrea Glad

First rehearsal: March 14th, 2017Opening night: May 11th, 2017

First rehearsal: March 14th, 2017
Opening night: May 11th, 2017

We thank the authors and their inheritors for granting us copyright to use the following songs:

Ivo Robić, "Samo jednom se ljubi"; music by: Ivo Robić, lyrics by: Mario Kinel
Arsen Dedić, "Moderato cantable" and "Kuća pored mora"; music and lyrics by: Arsen Dedić
Josipa Lisac, "O jednoj mladosti"; music by: Karlo Metikoš, lyrics by: Ivica Krajač
Dado Topić, "Da li znaš da te volim"; music and lyrics by: Dado Topić
Film, "Mi nismo sami"; music and lyrics by: Jura Stublić
Pavel, "Dobro je da sam bivši"; music and lyrics by: Aljoša Šerić
Vice Vukov, "Zvona moga grada"; music by: Zvonko Špišić, lyrics by: Drago Britvić
Darko Domijan, "Ulica jorgovana"; music by: Raymond Ruić; lyrics by: Ivan Glišić

Tena Stivicic’s Invisible has not been staged in a Croatian theatre before, and the reason for this may be found in the fact that it is a play, originally written in English (2011), whose theme and field of interest at the time when it was created directly addressed first and foremost the British theatre audience. Things have changed in the meantime, and Invisible’s topic has become a pan-European issue. "... this author impresses us with her scenic imagination, she is brilliant in her perspicacious dissection of immigrants’ problem, in a way rarely seen in modern dramaturgy," writes Igor Mandic on the back of the book with Tena Stivicic’s three plays, noting the process by which its protagonists, the exiled, the escaped, the rejected from the East, who see the UK as the promised land, turn into nothing more than confused episodic characters in global political and economic developments, but also in their own lives. The list of characters alone clearly indicates the state of play: there is the "Fortress Europe", where wealthy, affluent people from Western countries’ upper middle-class belong, and there are "Others", who arrive to that same West fleeing their countries shattered by war and the lack of any prospect. The director Matjaz Pograjc, permanently tied to the Slovenian Youth Theatre, has already put on with success Tena Stivicic’s Fragile! He shaped it into a production of a strong director's concept and an important cinematic share, making the play seductive in terms of visual art and innovative in terms of staging solutions.

‘’A powerful story of migrants wanting to enter "the fortress" called Europe. Tena Štivičić’s ‘’Invisible’’ is masterfully staged (...) The cast played their numerous and confusing roles exceptionally well.’’ (Denis Derk, Večernji list)

‘’Tena Štivičić’s poignant play, directed by Matjaž Pograjc, about the fate of our countrymen who vamoosed the apathetic Croatia to find prosperity elsewhere (...) ‘’Invisible’’ is a play that requires an additional engagement from the usual attitude towards theatre acting. Pograjc and his cast have led the audience to the act of double exposition: While they are watching a live performance, the audience is trying to relate to the tragic destinies of refugees, but at the same time the numerous cameras bring the audience into the core of emotion.’’ (Kristina Kegljen, 24express)