„Apolodor e un tonic estetic, un cocteil de forță imaginativă, emoție și energie. De calitate premium. Precum Cartea care l-a inspirat, spectacolul Naționalului clujean e, sub aparența jovialității ludice și a umorului suav, o modalitate de a privi atent lumea înconjurătoare, în încercarea de a o desluși cât mai bine. Deja „mi-e dor, mi-e dor, mi-e doooor" de show-ul cu Apolodor!“
Oltița Cîntec, Inventivitate ludică,
în Suplimentul de Cultură.ro, nr.475, 16.03.2015
„În interpretarea lui Dragoş Pop, Apolodor este cu adevărat eroul principal al spectacolului, cel care controlează sala de la prima apariţie. Interacţiunea cu publicul este exemplară, secvenţe semnificative din spectacol derulând-se interactiv, sub bagheta magică a actorului. Practic, versurile lui Gellu Naum sunt doar pretextul pentru o grandioasă improvizaţie pe temă dată. Asistăm, de fapt, la un spectacol de stand-up comedy unde, sub masca seriozităţii şi a candorii, cu umor subtil şi glume de bună calitate, care nu alunecă nici un moment în vulgaritate, actorul construieşe un personaj fabulous.“
Radu Constantinescu, Gellu Naum - superstar,
în ZF - Ziarul de Duminică, joi, 19 martie 2015
The show has a cinematographic rhythm and a dynamic quality reminiscent of modern dance. The entire team is characterised by their great energy, but they also act with the precision and rigour of clockwork, though on different tones.
Radu Constantinescu, 12 furioși magnifici / 12 Magnificent Angry Men, in Ziarul de duminică,
A supplement of Ziarul Financiar, March 5th 2015
The spirit of the play endures in this splendid and refreshing show, which should remain in the repertoire of the National Theatre as an example of dramaturgy being organically integrated into social art.
Horațiu Damian, 12 oameni care ezită / 12 Hesitant Men,
in Agerkult, March 5th 2015
As part of the Theatre - Forum programme, inaugurated at the National Theatre trough this show, it would be interesting to involve the public in the onstage debate, perhaps at the end of the performance.
Adrian Țion, Logică și prejudecată - 12 oameni furioși / Logic and Prejudice - 12 Angry Men,
in Agenda LiterNet.ro, March 2015
According to American law, the 12 members of the jury, from different backgrounds, must judge the case of a young man who killed his father in unknown circumstances. As they do so, the debate becomes increasingly tense. Because, between their first encounter, when it seems clear that the man must be condemned, and the final acquittal, the arguments for his guilt collapse one after the other. The challenge to reconsider the verdict comes from another young man, who has had a similar experience. When the jurors must finally cast their vote, he addresses each of them, prompting them to examine their own conscience. Their biographies - used as arguments - highlight the volatility of justice, while the reconstruction of the events indicates that some of the jurors might be subjective, superficial or ignorant. It is that easy to destroy a life, a destiny, and the line between guilty and not guilty is so blurry. It is an old problem, but also a new one, because the goddess of justice is still blindfolded. I suspect that the young director Tudor Lucanu was first drawn to this text due to its well-rounded dramatic structure, as well as the strong characters. It was then easy to choose 12 fitting actors out of the excellent team of the National Theatre. From the senior actor Cornel Răileanu, who is impressive with his solemn, aristocratic, calm and balanced manner, always in control of his own reactions, verbally and nonverbally, to the impetuous Cristian Grosu, who threatens the rational harmony of the arguments with his impulsivity; from Matei Rotaru's self-possessed and persuasive character, who triggers the debate, to the businessman's pragmatism, embodied by Ionuț Caras; from the sentimental Ruslan Bârlea to the careful, reflexive Ovidiu Crișan, so different from the dynamic and fretful Cătălin Herlo; the picture is complete due to Emanuel Petrean, Doru Bordea, Petre Băcioiu, Cătălin Codreanu: the image of society itself, with all of its possible attitudes which will determine, in this case, the vital issue of a man's condemnation. The debate is expertly conducted by the director and, although certain notes may be a little too sharp, his commitment is unquestionable. Adrian Damian's set is most fitting, being similar to a public forum and organised around a dominant metaphor, namely the chess-board-drawing on the floor. Moreover, the set is also designed in accordance with the stage movements, contributing to a successful show. Since the recording was made before the pandemic, when the spectators were able to watch the show in the great hall of the National Theatre, I could also notice their unsuitable reactions, their willingness to laugh and have fun even when the context did not call for it.
By Doina Papp, Adevărul - Blogguri, March 2nd 2021
Oameni furioşi şi Cartofori pe scena Naţionalului din Cluj / Angry Men and Gamblers on the Stage of the National Theatre of Cluj
„E o piesă reușită, din toate punctele de vedere (...). Reprezentația are o distribuție de excepție, cu trei actrițe a căror imagine și gestică teatrală se potrivesc perfect cu rolul jucat în această piesă: Alexandra Tarce, interpretând tânăra călugăriță cu deviații mistice și accente de cruntă nebunie - hiperbolizate chiar prin fizionomia acestei actrițe, ai cărei ochi mari și privire de copilă naivă și traumatizată, dau forță tragică întregului spectacol; Miriam Cuibus, în rolul Maicii superioare a mănăstirii, o ,,avocată" și-n același timp o complice a tinerei ce se presupune că și-ar fi ucis copilul, și Irina Wintze, ce, prin eleganța-i specifică și imaginea cumva rece pe care o inspiră, a profesionistei detașate, întruchipează perfect medicul psihiatru, ce caută să deslușească ițele complicate ale poveștii mistice de viață și de moarte, petrecută în cadrul monahal.“
Florin Moldovan, Agnus Dei - o piesă „horror" la Teatrul Național Cluj,
în Ziar de Cluj, 4 mai 2015
