Croatian National Theatre in Zagreb, Tko pjeva zlo ne misli
Creative team
Directed by Rene Medvešek
Adapted by Nina Bajsić
Scenic design by Tanja Lacko
Costume design by Doris Kristić
Musical contributors: Matija Antolić, Nenad Kovačić
Lighting design by Aleksandar Čavlek
Scenic movement by Pravdan Devlahović
Assistant director: Hana Zrnčić Dim
Archival consultant: Dinko Čutura
Popular music consultant: Ivan Justin
Cast
Zrinka Cvitešić / Tesa Litvan as Ana Šafranek
Dušan Bućan as Franjo Šafranek
Krešimir Mikić as Gospon Fulir
Ivana Boban as Teta Mina
Ivan Colarić as Gospon Ivo
Munda
Dušan Gojić as Gospon Bajs
Nikša Kušelj as Karuzo
Dora Lipovčan as Gospodična Mandl
Vanja Matujec as Gospođa Božena
Iva Mihalić as Mademoiselle Branka
Vlasta Ramljak as Gospođa Bajs
Barbara Vicković as Teta Marijana
Silvio Vovk as Gospon Varićak
Mirta Zečević as Teta Beta
Musicians
Ivan Colarić – piano
Matija Antolić – ukulele
Jeremija Bundalo – violin
Stjepan Vuger – accordion
Vinko Vujec – double bass
Stage manager: Suzana Bogdan Pavek
Prompter: Višnja Kiš
Based on Krešo Golik’s script for one of the most popular films in the history of Croatian film-making, which is a literary adaptation of Vjekoslav Majer’s Dnevnik maloga Perice (Little Perica’s Diary) published in 1942, this theatrical potpourri directed by Rene Medvešek brings back to life Zagreb as it once was. The show is part of the European theatrical practice of treating iconic films as cultural heritage in order to inspire new generations of viewers. Most of the plot takes place in Zagreb’s Upper Town, between two world wars, and we are watching the everyday life of the Šafranek family with all its aspects, from completing administrative formalities to socializing in coffee houses and taking a family picnic. Their everyday routine that is regularly recorded by the boy Perica gets disrupted as a charming bachelor, Mr Fulir, enters their lives. While her husband Franjo, a clerk that keeps failing in proving to his wife that he has more wits and competence than he actually does, is in fact a coward full of regrets, always citing civic norms, but afraid to ask his boss for one hour off work, and finding comfort in alcohol, Ana Šafranek finds no fulfilment in being married to a man that does not even notice Mr Fulir wooing his wife. Ana’s moral restraints gradually weaken under Mr Fulir’s flattering, but his intentions eventually get exposed and Fulir finds himself forced into a marriage with Ana’s chattery sister, aunt Mina.