A teenage girl grows up without a father. Nico goes again and again to the door of the man who fathered her, but never rings - in the meantime her mother remarries, divorces again, gives birth to another girl; Nico becomes more rebellious, joins a gang of thugs, leaves for America, reads Hermann Hesse, reconciles with her mother, secretly listens to Johnny Cash, grows up. But the doorbell remains untouched.
Adolescence, with its traumas, described playfully, with a sense of humour. A story about the painful loneliness of maturing, about what a family means and the trauma legacy from our parents.
Ileana Lucaciu: "Irisz Kovacs and Theodor Niculae offer inspiration to the text of an original theatrical image of great finesse for supporting the thematic substrate. The decor of Theodor Niculae is sensational, placing on the stage several small white houses with windows in which the shadows of those who appear at key moments I live. These visual accents are excellent. the background the setting is symbolically dominated by a white door with steps in front, place in which Nico always returns with the desire to find out her father, the desired family genetic. This decor completed by the discreet colors of costumes, gives theatrical life to the major meanings in the text. director makes admirable use of the setting offer, the characters invoked by Nico's story, I leave the boxes to improvise typologies various evoked. The actors always transform themselves into these characters to show their typological essence, and they each do it admirably. They they get to sing appreciably in some improvisations dictated by the fact that Nico is a fan of a star. The collaboration of director and scenographer, is perfect resulting in a visually captivating show, and those two young people deserve awards for their debut in theatrical life. Director, department in which a crisis was felt, here it is receiving one new force by Irisz Kovacs. The actors join this directorial vision with all their heart and faith in what they will offer emotionally to the audience. They all pencil beautifully the characters that return to them through immediate transformations, without exaggeration, only through defining expressions. Nico's interpretation by Ecaterina Lupu is remarkable for the way the actress emphasizes the substratum of each evoked situation, its role being central in the performance. For her part, Cristiana Luca achieves nuanced another important character for evocations, that of the mother. The two actresses alongside their generation colleagues - Florin Aioane, Andrei Bibire, Theodor Șoptelea demonstrates a penetrating analysis of every word spoken and a complex talent."
Claudiu Groza: "In my opinion, the best calibrated of all the steps (directing/acting/scenography) was 8 dads by Tina Müller, directed by Irisz Kovacs (Constanța State Theatre), which I have seen at the headquarters at the end of August. The touching confession of a teenage girls faced with the psycho-existential tribulations of their mother his and the father's absence was transposed into a simple show, warm, somehow sunny despite the subject. Irisz Kovacs built her with mounting maturity, without pathos and not too cerebral, having alongside an already formidable team of young actors (Ecaterina Lupu, Cristiana Luca, Theodor Șoptelea, Andrei Bibire and Florin Aioane) and an inspired scenographer (Theodor Niculae), whose scenic space a was suggestive, visually arresting and useful, albeit minimalistic. I think the balance of the construction is also the asset of the show. By the way, this one the directorial imprint was also seen in the fragment from the collective creation, for which Irisz Kovacs was awarded at DbutanT.”
Radu Nica, director: "A stepfather stops being a father when his mom is breaking up with him? The biological father is still the father, as long as the child knows nothing about him? And, in this situation, his can the child choose the father he deems suitable? Here are some among the serious questions, current and, for the followers of dynamics traditional family - hard to imagine, on which Tina Müller's play he puts them in a text of a devastating topicality, questions to which Irisz Kovacs, together with the excellent team of the Constanta theater, they respond with a playful spirit - as disconcerting as it is fair and effective in enhancing the play's serious theme. Problem of the identity of generation Z, with the specific dramas produced by what sociologists call "patchwork family", is admirably captured in this attaching spectacle, in which the paradoxical coexistence of laughter and crying is rendered with a disarming tenderness and honesty. a show with a fresh, original and impactful aesthetic, interpreted brilliant by all the artists involved, who give the measure of a debut director more than outstanding in the Romanian theater". - I'm glad Nica is the license coordinator for director Irisz Kovacs.