Nina Dimitrova has meticulously read and zealously followed Gogol’s profuse instructions for this play. All-penetrating grotesque is her major tool. Grotesque managed with great care to avoid turning the characters into system villains or horrifying monsters. They are just as Gogol created them – banal creeps. Gogol insists that the play must be a machine in which no cog is at rest at any time. This is precisely the formula of Nina Dimitrova’s production. Everything succumbs to the single life rhythm of the machine. The set design consisting of twelve beams hinged together by simple kitchen hooks, transforms into all kinds of settings and allows the director to let her stage imagination run wild, to build volumes and dimensions. Without for a moment running off with it completely. There is no self-indulgence in this game at resourcefulness. Nor is there in the text work. Gogol’s lines sound with clarity and impact. The robust make of the entire production warrant the achievement of the goal – the identification of the only “honest, noble character” in the play. According to Gogol, that is “the laughter released by one’s radiant nature”, coming from the “spiritual city” locked in every person. Dimitrova and her cast aspire to reach even deeper – to what Gogol himself insists: the universally human.
KULTURA, BULGARIA, 2018
Tempo, tempo, tempo. No savings on energy. Maximum explosion of freshness, energy and resourcefulness, leaving the audience in awe.
ARMYMRDIA.BG, BULGARIA, 2017
Nina Dimitrova’s characters are immensely funny. The authenticity of emotion and its representation in the reality onstage is contagious, and the performance offers two rare theatrical delights – those of relish and fulfillment. There is first the delight of powerful, serious and already marked by high professionalism performance by very young actors, and then – the fulfillment of encountering the director’s meaningful, worthy reading of the mirror which Gogol has placed before us all.
Duma, BULGARIA, 2017
Nina Dimitrova’s productions are addictive. Her directing is elegant and expressive. Her narration is straightforward and yet expressive, depicting situations as hilarious as they are embarrassing, and just as relevant nowadays. She is an artist of remarkable imagination which in a few moves transforms the simple, yet multi-functional set design by Yuliana Voykova-Najman and Boris Dalchev consisting of a few wooden beams hanging on rails into inventions. There is an ethereal feel to the set as the beams swing. It is so rare to witness such unanimity of both critics and audience when they conclude: Nina Dimitrova’s “Government Inspector” is a hit.
PlOSHTAD SLAVEIKOV, BULGARIA, 2017