The world where the hope doesn’t exist anymore and remains only a wish, where the characters are very often marked by letters only, and where the word “love” doesn’t make a sense anymore through its often uttering (!). The pillows, which are not simply an object, it’s rather the only thing could be kept by Crave’s characters, may indicate their embryonic state. <…> it is not a dramaturgy of a performance that makes use of a deliberate fragmentariness of Kane’s plays but its form – a lightning arrangement, audience facing misanscenes, mutual anticommunication, an autonomous space of every actor.
Almost in every scene it is found (and quite inventively) a new method – whispering words into a pillow, spinning around ones axis, lying, standing, showing only the legs of the characters, using a uttered or cried out at the same time chamber dialogue between two actors, imitating a sexual act, etc. As the music, which has been taken, is maintained, a spectator is drawn into a peculiar reckless and not boring at all marathon.