The new OKT performance is, of course, dominated by radiance. The radiance of theatre director Oskaras Koršunovas’ erudition and ability to juggle with signs of theatre traditions, pop culture, and personal iconography; of catching all hints and their interaction in “Playing the victim” by Vladimir and Oleg Presniakov. The radiance of smooth composition of parody of the theatre canon “Hamlet”, “eastern” surrogates in theatre and life, and nowadays Russian reality (that differs from the Lithuanian one only in “national” issue) into integral theatric body. The radiance of intellectual wit and functionalism of set design (by Jūratė Paulėkaitė) that transforms stage of noh theatre into the scene of crime: flat, water pool, or Japanese restaurant; and decorates its bridge with mournful garments of funeral table. The radiance of breath-taking pieces of Russian rock splendidly performed by Gintaras Sodeika, composer and song writer. The radiance of passionate acting and mastery of the actors, developed in OKT performances during many years. […] Strange impression comes into place that the performance is some kind of action by Oskaras Koršunovas. Some kind of cleansing procession, which brings up on stage all the reserves that had been gathered and used in passionate case of self creation and creation of OKT. One should use the reserves carefully. Otherwise it will be hard to tell whether you are still alive or have brought death upon yourself.