The title refers both to the music played by the outmoded street-organ, the simple tunes fed into and ground by such a machine; and to the recurring events of life. We attempt to describe and model a state of existence that is familiar to all of us: celebration. That is, everybody’s celebration, but for some reason we are not invited. In our play this could be any kind of celebration, an occasion on which anything could happen that is a beginning, an end and a completion at the same time, and which is also the framework of missed events. It is time compressed, where human behaviour can appear clearly. It could be a wedding or a burial-feast, anything, a reception or a garden party, where everybody is doing their best to enjoy themselves as much as possible. Except for, of course, those who got crowded out, who could not get in. Thus, for them the celebration means, at the same time, separation, accepting the situation and making the decision to celebrate in their own way. Once they were left out, let them make their own barrel organ. So our play is about those who are outside the authenticated boundary of the celebration but who do not accept this and would like to join in with their own part of the melody.

(Gábor Csetneki )