- Jure IvanušičAkademikova, Ekart, Drvar
- Poslanec, Jana, Ženomorec, Psihiatrinja, Prvi policaj, Drvar
- Gostitelj, Lojzka, Skladiščnik, Joc, Ropar, Psihiatrinja, Drvar
- Emilija, Kurir, Diler, Psihiatrinja, Prvi kmet, Drugi policaj, Drvar
- Akademik, Drugi pijanc, Župnik, Mama, Psihiatrinja, Drvar
- Poslančeva, Prvi pijanc, Zala, Goljuf, Psihiatrinja, Drugi kmet, Drvar
- Jan, Naci, Švercer, Psihiatrinja, Zdravnik, Drvar
- Vasko Atanasovskivokal, saksofon, flavta
- Dejan Lapanjakitara
- Marjan Stanićbobni, tolkala
- Dramaturgy: Dubravko Mihanović
- Set design: Zora Stančič
- Animation based on ideas by Zora Stančič: Andrej Kamnik
- Costume design: Barbara Stupica
- Costume design assistant: Slavica Janošević
- Music: Aleksander Pešut - Schatzi
- Music arrangements: Vasko Atanasovski Trio
- Choreography: Natalija Manojlović Varga
- Language consultant: Mateja Dermelj
- Lighting design: David Cvelbar
- Sound design: Silvo Zupančič
- Stage manager: Liam Hlede
Pesem Prerojenje Srečka Kosovela uglasbil Jure Ivanušič.
Rozman’s Baal will be neither a translation nor an adaptation, but rather an entirely autonomous work. Roza will build primarily on the extremely egocentrical attitude of the Brechtian character towards the society. He will move the story to the modern time and our environment, so the national themes will be a little more emphasised. His Baal will be, compared to the original versions, more connected and light-hearted in text, as he writes dialogues in verse; he wishes to create a slightly tragic, but also cynical-entertaining musical. As the original Baal, the poet, is the “child” of a young Brecht, he will ascribe some of his youthful poetry to him. And this poetry is the main reason why Vito Taufer chose Rozman as the author who’d move Brecht’s character to here and now: he remembered how he heard Roza interpret his poetry for the first time back in 1980s, the poem Mickey the Crocodile, with a somewhat child-like title, but really a very bloody content. And this mix of naïveté and horror is expected of Rozman’s Baal.
Just like Brecht’s hero, Roza’s also speaks, thinks and does whatever he wants. He writes juicy verses out of the blind spots of social anomaly, so that, as he says, the truth hurts the most/those pumped up morons/with dirty consciousness/but think we all have to eat out of their hand/and lick their arse. The brilliant cast, totally committed to the pleasure of acting, creates a performance that roars in its elemental lust for life. It is all just a game, the ecstasy of a brilliantly sung number, the superior acting, laughter that a white girly dress on a body of a fifty-something male evokes in the audience, and his heels, and his hairy legs. The cabaret devours the decaying, abused body of a fifteen-year-old, the Catholic church paedophilia, the betrayed, the humiliated, the insulted and the cheated, and Baal sings: For life to run as painlessly as it can/and our consciousness and other things gnaw at us as little as they can/each one must build/a high defence wall /lock up his castle and protect the treasure of his favourite pleasure.
[T]he production has a good flow and rhythm and the entire staging retains a strong, relaxed, humorous and yet somewhat dark and suffocating atmosphere.
The acting […] matches the tone and the type of humour of the production, and is appropriately natural and relaxed despite humorous exaggerations of the text, and its versification.
The strongest element of the production are definitely musical arrangements […] which give Baal a strong atmosphere, draw and deepen the tone of the performance and support its humorous atmosphere.
The production is conceived as a burlesque, introduced by a musical trio (Vasko Atanasovski Trio, music by Aleksader Pešut –Schatzi), which comes to life more in the wild solos than it does in simple songs. The trio follows the events on stage, supports Baal’s (Ivo Godnič) songs and actively takes the 'narrator’s' position, with which it sews the transitions between scenes and frames the entire production.