The basic tone of Ghelderode’s understanding of the world (...) is cruelty. Ghelderode learned about cruelty from court jesters who with their masques do not disguise but in distorted mimicry reveal the real face of the human being.

(..) The cruelty of Ghelderode’s drama opus, as a paradox, roars with laughter.

(...) With the cruelty of his court jesters and executioners, the author seems to lend the characters to the discomfort of death, where these clumsy puppets eventually encounter their own essence and the tricky nature of their own existence. “Cruelty, that means reality a precise drawing without lies” says Ghelderode.

With this performance the director Vladimir Milchin, goes back in time to his old productions that not only made the spectator smile, but they embittered his soul, trammeled his hart, made him think. The director’s skillfully chosen cast, which transcends the energy of cruelty with its youthful spirit, using the grotesque as the most adequate way of presenting this type of dramaturgy, is echoing that distortion from the stage, that cruelty - that is reality - or that precise drawing without lies, as the author has stated.