It seems that the Bulgarian “Credo” is capable of telling and shaping everything just by using pieces of batting by the meter. Two white clowns appear on stage just like the wind, “wearing” skis, holding staffs that imitate ski sticks, dressed in white batting. This is how they create the whole fairy-tale illusion. A stunning performance which exudes warmth and cosiness. What a charming piece of acting! It lasts until the very end when Nina Dimitrova, in a delightfully ambivalent manner, responds to the old man’s report about his bargains at the market.
STIFTSTIDENDE ARHUS, DENMARK, 2005
The cold and the batting. The drifts of snow and the cold represented by the fluffy white batting are in sharp contrast with the warmth and intimacy of human relationships. With its inspiring performance, the acting duo is a virtuoso in happy-ending stories. Nina and Zuek’s theatre is a delightful combination of purely dramatic and stunning puppetry techniques. Nothing on stage is left inanimate. On the contrary: objects are constantly being transformed into new ones with new functions. There is plenty of wit and originality in the ingenious metaphors and the dialogue between the actor and the puppet, which comes to life through the created character. Credo Theatre presents art in the renaissance sense of the word. Its performance echoes the gaiety of Comedia dell’ Arte, where everything has a life of its own but in the same time also carries a deeper message radiated by the joy of performing. Credo’s message is simple: love and happiness are a bigger trial than poverty or winter misery, but they are more worth while than anything else in life. It proves that fairy-tale magic is still possible despite its being hidden under layers of ironic bitterness.
TRUD NEWSPAPER, BULGARIA, 2005
The warm winter-tale of Nina and Zuek. Magicians like Nina and Zuek can make theatre out of everything. Or nothing. As is the case with „Daddy’s always right” after Andersen. Credo Theatre put us into a fairy-tale mood just by using several rolls of batting. In their hands, these white pieces of cloth come to life. Love makes us forgive and see only splendid qualities in the person we adore. And where there is love, even the drifts of snow make us feel warm and even the rotten apples turn into gold. This is the simple message of Andersen’s story “Daddy’s always right”. The rest is the sheer pleasure of watching the magical performance of this fabulously masterful acting duo.
NOVINAR NESPAPER, BULGARIA, 2005
Nina and Zuek are always right. Credo’s most recent play serves as a lesson to the entire bunch of woeful actors and directors who blame the low quality of Bulgarian theatre on the lack of funding. It teaches us how real theatre is made. The ingredients of “Daddy’s always right”? A tale by Anderson, two actors and some roles of batting. However, when we’re talking about the two actors from Credo Theatre, we have to bear in mind that this batting is constantly being transformed from one thing into the next – just like it’s supposed to happen in fairytales. While you watch this play, you must to observe the changes in mommy’s (Nina Dimitrova) face as she listens to the story of her horse being reduced to a bunch of rotten apples. Initially enthused by the good deal, she gradually resigns into bitter grief after hearing about yet another disappointing bargain. Finally though, her face again brightens up with affection and approval as she realizes that “Daddy’s always right…”
CAPITAL NESPAPER, BULGARIA, 2005
The tale is performed in a space that comes to live through improvisation. In this space everything is constantly being changed into something else and every object is transitory. The two actors over and over again transform the shapes of the white batting, which at the beginning of the performance creates the illusion of snow. The last scene introduces the abstraction of the play. Here Nina Dimitrova’s face “says” a lot. In a sparing but yet lively way, it tells us all about what lies beneath her short answers and affectionate consent. Her facial expressions walk us through a gradual transition: from hope to astonishment, to disappointment, to overcoming the disappointment, to resignation and to the realization that she loves that man. This scene reveals an ironic admiration for womanhood. “Daddy’s always right…” is a playful and optimistic performance that serves to remind that the peace and harmony in the context of tender affection more often than not depend on the woman. It makes us realize in a more tangible way how much we need beside us someone we trust, someone who loves us despite our faults. It seems so feasible in fairytales. And it’s not that impossible in life either…
LITERATURE NEWSPAPER, BULGARIA, 2005
A story about the snow and the cold, which spurs slightly melancholic laughter. Romance and innocence, as they exist only in Andersen’s tales. Credo Theatre’s sense of humour adds another dimension to this familiar story about two pure and innocent souls. The two actors resemble snowmen or rather figures that Fernando Botero would have created had he worked with batting instead of metal. True to their unique acting style, they are wonderfully dedicated to performing. Тhe audience sinks into the play, just like the characters do in the deep snow.
PARALELI MAGAZIN, BULGARIA, 2005
Nina and Zuek – lords of the tale. The incredible artistic duo Nina Dimitrova and Vassil Vassilev – Zuek created a tale for adults – Andersen’s “Daddy’s always right”- white, surreal performance, where the entire staging consisted only of … batting – material underlying all objects, people and events during the performance.
MONITOR NEWSPAPER, Bulgaria, 2005
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