The supernatural world, that mixture of casual and mystery, seems to be of greater interest to the theatre director – the first scenes with Hamlet’s father’s ghost evokes some strange casually gothic horror that nicely balance on the edge of unseriousness. Dainius Gavenonis utters Father’s words with pathetic intonations: one can feel both derision and paraphrase of “Hamlet”. Episodes are drowned by songs those phonograms are “covered” by actors and disco smoke. They create club atmosphere. But beside kitsch it also evokes anxiety (ideally Russian bard rock songs). It is exceptional how precisely and functionally set design embraces all these layers” from casual and TV adds to horror and supernatural world. Decoration by Jūratė Paulėkaitė, „podium“ with a wall changes meanings along with changing lights. Giant wave portrayed on the wall (at the beginning and latter on one can hear nearly tsunami roaring) at the same time is both wallpaper and contemporal digitally made drawing, Japanese graphics and kitschy interior of oriental restaurant. The wave-drawing encounters the wave on stage, i.e. curtain on the wall, that washes away all. Good we still have tsunami.