Director: Igor Vuk Torbica
Translator: Dragutin Horvat
Dramaturge: Katarina Pejović
Stage Design: Branko Hojnik
Costume Design: Marita Ćopo
Music: Nenad and Alen Sinkauz
Choreographer: Pravdan Devlahović
Lighting Design: Zdravko Stolnik
Video Editing: Filip Zadro
Assistant Directors: Hana Zrnčić Dim and Lea Anastazija Fleger
Photography: Jasenko Rasol
Production’s visual identity: Vanja Cuculić / Studio Cuculić


Alfred: Igor Kovač
Mother: Ksenija Pajić
Grandmother: Perica Martinović
Hierlinger’s Ferdinand: Franjo Dijak
Valerija: Nela Kocsis
Oskar: Filip Križan
Havlitschek: Janko Rakoš
Cavalry Captain: Siniša Ružić
Master of Ceremonies: Filip Šovagović
Marijana: Nataša Janjić
Wizard: Jelena Miholjević
Aunt: Barbara Nola
Erich: Nikola Baće
Emma: Tena Nemet Brankov
Helena: Anja Đurinović
Baroness: Ivana Roščić
Confessor: Sven Medvešek
Mister: Živko Anočić
Stage Manager: Snježana Majdak
Prompter: Andrea Glad

First rehearsal: September 19th, 2016
Opening night: December 5th, 2016

‘’Nothing gives the feeling of infinity as much as stupidity.’’ These are the words that usher us into the world of von Horváth’s "Vienna Woods", hinting which human characteristic the author will first reveal in the foundations of Evil. His Vienna is claustrophobic and theatrical to the point of grotesque. It is a hysterical, closed, narrow-minded and ruthless place, which sways to vivacious Strauss’s waltzes and provides fertile ground for the growth of fascism. Therefore, underneath the melodrama, this play is charged with politics, very modern in diagnosis and the engaged attitude. Writing about von Horváth’s work, Darko Gasparovic concludes that it "has become a surprisingly modern and lucid document of our reality in a global, international framework". The "Tales from the Vienna Woods", a folk play in three parts, is probably the culmination of an exceptional and abruptly interrupted oeuvre. Igor Vuk Torbica, known to the Zagreb audience as the director of the brilliant "Hinkemann", but also of the surprisingly witty "Broken Jug", staged in Belgrade, presents a potentially powerful ensemble-play. It is a play that looks behind the facade of a lulled and smug, but in fact a self-conscious and hateful society. A society that sinisterly heralds: ‘’Mark my words; there will be war again! It’s inevitable! There’ll always be war! / It’s a fact. But that would be the end of our culture. / Culture or no culture...war is natural law!’’

‘’Igor Vuk Torbica has exceeded expectations with ‘’Tales from the Vienna Woods’’ (...) In many ways ‘’Vienna Woods’’ is a sequel to ‘’Hinkemann’’, but also a big step forward for the author. In cooperation with the dramaturge Katarina Pejović, the director presented a clear idea and a precise concept.’’ (Bojana Radović, Večernji list)

‘’Nataša Janjić is brilliant in the role of the unfortunate Marijana, the only victim among antiheroines...’’ (Tomislav Čadež, Jutarnji list)

‘’All the roles are meticulously studied, from Alfred’s grandmother and mother (Perica Martinović and Ksenija Pajić), through his gambler ‘’friend’’ Hierlinger (Franjo Dijak), ageing gold-digger (Nela Kocsis), the baroness (Ivana Roščić), returnee from the States (Živko Anočić), The Captain (Siniša Ružić) to the rival Erich (Nikola Baće). In the role of the ditched fiancée Oskar, Filip Križan insightfully and ruthlessly explores the kind of obsessive love that ‘’loves’’ so much it simply does not notice the squashing of its ideal object. The most complex role of the play is brilliantly portrayed by Barbara Nola as the neighbourhood Aunt, traumatized by the overall apathy and susceptible to various types of ‘’stutters’’. Meanwhile, she is the only person aware that all the events in the little butcher’s shop accurately reflect the relationships in the grand butchery of politics. (...) Nataša Janjić and Jelena Miholjević portray the roles of the naive and insecure Marijana and her tyrant mother. Miholjević masterfully embodies the middle-class diva resembling Željka Markić. On stage we see yet another ‘’queen mother’’ who symbolically sings the praises: ‘’Long live the patriarchate!’’, and with it the associated submissiveness of womankind, while at the same time she twists around her little finger the little butchers, little ministers and other little sponsors of her utterly non-patriarchal little shop.’’ (Nataša Govedić, Novi list)