‘Hey-hey! In this wretched world the poor ones go to hospital and either come out or not. Some
are taken in and come out on their own legs. Others walk in and they are taken out. But there
are some who just come and go…’

‘The play begins with a hospital scene: the awkwardness of the nurses over the bed-pans is
unbelievably real, their lines are taken from life or from soap-operas. All this is a cabaret, moreover, that of a shameless type, where the punchlines and the acting, which is balancing between the real and the stylized, entwine with ease. The world then turns unexpectedly, with a jump we move from the identifiable place and time to completely different ones. One of the main characters throws himself over the back curtain, pulls it down, revealing a new stage. From then on, the performance is kept moving by unexpected turns. From the hospital we are led into a last-century rogue story, from there into an eskimo idyll, where Fidel Castro and an exalted, cocain-addict samba dancer appear as intruders. By the time the audience realizes the connection between the story fragments and the old and new characters, time becomes upset again, and we find ourselves somewhere else. The stage-worlds are not strictly separated,
they are running parallel, become entangled and are totally equal. We are treading in the dense forest of dreams and quotation marks but even in the end we cannot be sure whether there has been an awakening at all.’
(ANDOR DEUTSCH – ZSÖLLYE)