Artistic Direction: Alexandru Boureanu
Assistant Director: Nicolae Vicol & Cătălina Vînătoru
Text: Gordon Dryland
Translation: Raluca COANDĂ
Scenic adaptation text and scenic movement: Raluca Păun
Set design: Vanessa Beca
Technical direction: Sorin Gruia/ Cristi Petec
Master of lights: Dodu Ispas
Prompter: Anca Maria Ilinca
Duration of the show: 115 min
Premiere date: 18 December 2020
While for more than forty years Amelia and her eldest son Arthur have lived in their own universe, the twins' intrusion destabilises the family balance. This unusual double visit - the twins usually come separately - succeeds in arousing the suspicions of the mother, who suspects that there must be an interest at stake. She expresses this concern without the eldest son paying much attention.
Frame selection. chronicles Think of Africa
Mirela Ciobă comes out on the ramp, with a well-expressed dignity (including unbearable lightness of being) for the earth-shaking confessions, graded as in mythology, in front of the receivers that are difficult to dislodge. The birds invoked in the play, whose sound could be heard sporadically, recalling Chekhov's seagull, announce the original drama. Thanatos and Eros, the night after the catafalque, with mother and son. Gordon Dryland proposes a unique case in a vast history of incest, from Leviticus to his contemporary, Louis Malle, with the film 'Le Souffle au coeur', sealed as a secret of an unrepeated moment and locked in a memory.
Alexandru Boureanu continues his program dedicated to the public, now with a deep, original and lasting drama.
(Marius Dobrin, Mama Africa / SpectActor, nr.1/2021, p.23)
Artistic personalities balance and unite in a vigorous yet harmonious plea for empathy, for mercy. The four members of the family, over whom the ridiculous and awe-inspiring world rushes, in the unequivocal interpretation of Raluca Păun, are looking for answers to an inexplicable, continuous and irrepressible hunger. The twins share the drama of a continuous exit from themselves, from the matrix: a rejection of the one who raised them, an expulsion to boarding schools, (re)constitution of their own families that they leave in various ways. Costinela Ungureanu accepts the mask of an eerie, vulgar femininity, still letting go now and then, discreetly, controlled, the intuition of energies that have nothing to do with hunger, but with death. Claudiu Mihail brings to the character something of Abel's immanent humanity, of male domestic pacifism and builds a Robert Selby, who could turn his back on the world (modern, social, domineering, devastating, relentless) to reconnect with the essence of the beginnings. The versatility of Nicolae Poghirc is once again highlighted - he is both the bearer of the anathema, of unconditional self-giving, until the end, the source of a love for which his mother wants to return the world to its beginnings."