Director: Oliver Frljić
Set Design. Oliver Frljić and Dubravko Mihanović
Costume Design: Sandra Dekanić
Original and Selected Music: Frano Đurović & Revolution Is My Boyfriend
Coreographer: Irma Omerzo
Lighting Design. Zdravko Stolnik
Props: Barbara Borčić
Photography: Jasenko Rasol
Visual Identity of the Production: Vanja Cuculić/Studio Cuculić


FRANJA: Jelena Miholjević
MIDWIFE, who helped Franja come to this world; INVESTIGATOR; VERA TOMIĆ, the principal of the nursing home: Ksenija Pajić
SECOND PREGNANT WOMAN; MAJA, Franja's school colleague; KATARINA JURKIĆ KATA, elderly woman; SAŠKA, the late daughter of Franja and Bravac: Dijana Vidušin
MOTHER to Franja; FIRST PREGNANT WOMAN; MARINA LETICA, elderly woman: Ivana Roščić
GRANDMA to Franja; THIRD PREGNANT WOMAN; BIBA, the maid in the nursing home: Antonija Stanišić Šperanda
DOCTOR; JASNA, Vera's mother and Franja's school colleague; RINA VAN BEVEREN, the delegate of the European Commission for the evaluation of nursing homes: Barbara Nola
ŽIVKO, Franja's father's colleague; INVESTIGATOR; VOJISLAV BRSTINA VOJO, elderly man: Enes Vejzović
OGNJEN, Franja's father's colleague; ANTE KOVAČ, elderly man: Janko Rakoš
BOY; YOUNG MAN; TINO LATINO, dance instructor at the nursing home: Filip Križan
BRAVAC, Franja's comrade-in -arms, later husband; ĆUK: Sven Medvešek
Stage Manager: Ina Krklec
Stage Manager and Prompter: Snježana Majdak
First rehearsal: October 7, 2011
Opening night: January 7, 2012

A square-headed child provokes an argument resembling those from Italian movies; a love scene involving a young 'ustasha' member; a partisan theatre and a passionate meeting in a blackberry patch; political accusations and torture; a marriage breakdown; then old age and a dancing hall... A nursing home, as an ''ideal camp for all our xenophobias, yet such a touching, tepid place'' (D. Spišić) where we ''dispose of our elderly'' a little bit like old batteries or used plastic bottles, serves as a mirror of the society in which we live in. A society where we reluctantly accept the other and the different and where we move the weak ones aside because they're in our way, because we don't have time for them... A play by Dubravko Mihanović, the author of "White" and "The Frog" - multi-award winning plays both domesticaly and internationally - is staged by Oliver Frljić, currently one of the most praised directors in the region, whose productions like "Bakhe", "Turbofolk", "Cursed be the Traitor of His Country", "When Father was away on Business" and "I Hate the Truth" win awards wherever they appear and are equally capable to cause controversy. This is completely understandable - his theatre is primarily focused on provocation and drilling into places that hurt the society, due to which he can sometimes be unpleasant, overemphasized, insisting. However, there is also the humour and the ludism, the traits that make his plays appear as comedies, comedies that reveal, as they should...

''A powerful story about old age, but also about our fate. (...) The text by Dubravko Mihanović talks of the journey to death in an incredibly mature way. (...) Not only is Frljić today a productive director with amazing ideas on the stage, but he is also a kind of a platform where great actors are made.''
(Bojana Radović, "Večernji list")

''What thrills the most is the emotional carrot-and-stick approach to the audience, balancing on the very brink between crying and tears, without pathos or a space to catch a breath. Regardless of the difficult subject matter, the audience feels like they're in an amusement park that is playing with their emotions, during which they feel neither misled nor deceived.'' (Helena Braut, "Vjesnik")

""All Goes By" is a play that reaches the audience and which will, with new performances, change its own inner landscape. The questions it raises are undoubtedly worthy of the viewers' attention.'' (Nataša Govedić, "Novi list")

"With her balanced performance Jelena Miholjević portrays Franja as a pronounced individual, a tragic figure for whom there's no actual place within the movement of the masses.'' (Tomislav Kurelec,

" performances without a week link, mise-en-scene draped in coreography, speed, quality of caricature, quotations, gags. (...) Each member of the ensemble can proudly walk on stage for they have confirmed their quality or even shown a new one.'' (Igor Ružić, T-portal)

"Mihanović's excellent text has offered Frljić a possibility of so-called materialization of metaphor, which means that situations alter in a way where you don't have to lurk at them or wait for them with open eyes and minds.'' (Olga Vujović, Radio Sljeme)