Teak instruments beeping, chest bangings, palms snapping on tighs, thousands of claps, squelches, screeches – before or after forming different spaces, couples, groups. Encounters, approaches, growth, softenings, the tense balancing of the chances of relationships in one space. Invoked, lived and discarded emotions weigh on the shoulders of the figures. Molecule-sized dramas come to existence on the footsteps of the shaped spaces and situations. And how interesting it is that these molecular dramas, like chemical procedures, create new and new qualities of time: the many layered symbolic moment presents itself. That we live like this. That we are like this. We win and we lose. Primal patterns of relationships appear. During the performance the composed music - I cannot find a better word – simply embroideres itself into the space. Acoustic space embroidery is what comes to existence in front of us.

The sound effects help us live the circus excitement of an „as if” experience, the games in the space – such as the floating, blowing, hiding of the ember-red feather or the breath-taking building of a tower of the piano seats – or the „if only” so excellently expressed by Péter Molnár Gál.

The scene is waving, crackling, and with it, behind it the music floats with an astonishingly punctual choreography or accompanied by the shudder of excitement. The girls put on high-heels, ruffle up their hair, go on a love mission preening themselves like birds, forming a classical folklore mocking line. Laughs accompany the kiss attack of the rouged girls as the rouge cases land on the floor as used bullets.

The childish joy of possession is rolling through the stage in the form of a scooter girl. The gesture of „I have it, you don’t, sorry!” transforms to a „Are you flirting with me? You’ll regret it! Give it to me!”. We can witness the possession and letting go of bodies, souls, games, sounds, balances, and everything gets enchanted. The lamp turns into the sun, dogs are barking then we play a funeral. (...)

Sáry’s musical suggestions work as optimal theatrical basis just like the best dramatical texts: it grows onto the performers, or like the symbolic moment, the many layered time as mentioned before.

Here everybody talks or makes music, everybody is present with the same finesse in the elegancy of waiting, and attack with the same power and withdraw in the heat of the action. This happy work effects the audience, too: it is worth finding the chance for such encounters.

Katalin Gabnai: Web of Intentions - Gramofon, 2017