"The merit rests with director Radu-Alexandru Nica for having discovered the orderly solution. For having accurately assessed the characters' inner labyrinths, the fact that they allow the protagonists no escape, that their way of being becomes full of obstacles and traps, of caverns and devouring twists of fate. The young stage director leaves aside for the moment the expressionist writings and those of expressionist descent to which he has proven to be very attached so far, and he nears in to a text illustrating the new, surprising, even shocking shapes of realism. He does it with the discipline of the detail, with art and elegance.
Each of the six actors - Ioana Iacob (Anna), Rareş Hontzu (Manfred), Daniela Török (Franziska), Radu Vulpe (Albert), Olga Török (Lina) and Horia Săvescu (Thomas) – develops characters of remarkable mobility and force. The beast hiding behind the mask (Ioana Iacob), the belated worrying and tragically assumed guilt (Rareş Hontzu), the personal happiness sought for in disdain for other people's happiness and the unpredictable consequences of such an attitude (Daniela Török), the costly indifference of the man proud of his virility (Radu Vulpe), the deceived innocence (Olga Török), the sickly bizarreness expensively discounted (Horia Săvescu, in a part seemingly written for him) are interpreted with confidence and accuracy, in a perfect mix of toughness and frailty."

Mircea Morariu, in Teatrul azi

"His staging does not linger and its rhythm is truly arresting. The rush on the stage bewilders the spectators, pulling them inside the story as if by real centripetal force. The scenes are quickly intertwined, and the conversations between the present-day characters, defined by self-control and coldness, foster a glacial atmosphere. A skid (actually, not only one, but dozens!) on a biking slope or the literal fall of the actors from their feet, as struck by lightning, in energetic vertigoes specific to the age, marks the scenes and the plans of the story. [...] Within the few meters of the stage, with the spectators sitting on two sides, Dragoş Buhagiar manages to create at least five different settings: the two families' homes, the medical practice, the parking lot, garden and forest. With hybrid objects such as the mannequin placed on a sphere, with suspended bicycles, with a gynaecology table turned imperceptibly into a bathroom and with a wall by which the stage ends as into an imitation of interior, space is rather conceptual or progressive because each scene takes place in another crammed place, enclosed by each of the mentioned elements. [...] However, in this vaudeville or soap opera dramatic network, director Radu Alexandru Nica finds the correct nuance to make relationships credible. What matters is what happens between two people, especially since the characters' problems are unfixable. [...] An interlace of meaningless bodies in a swarming of lives which, you guessed it, offers the exact portrait of our existence today, in a show that is worth watching. At least for the fact that it doesn't lose the spectators' attention for a second."

Cristina Rusiecki, in: Cultura