This is a performance that makes it hard to write a regular review about the performance.
This is a performance that makes it impossible to view it without a critical eye.
This is a performance that makes you exhale with relief when the intermission arrives.
A performance that makes you sigh when realizing that it carries on inside you also during the intermission.
After this performance you cannot get yourself to go home to your mother. 
You cannot get yourself to go home to your mother and not talk to her.
I will rephrase it: it is a performance that makes you want to go home to your child, your father, your mother and just talk... if not with them, then at least to them.

Homemade - is a brutal, yet beautiful tale (according to director Márta Vargyas’ subjective definition of this genre), also the staging of the Parents project. Instead of an artistic or popular well-made performance, this time, the Hungarian Theatre of Cluj - in the form of the diverse ensemble working with the institution - offers a homemade one. The theater's actors, an independent director, dramaturges and writers who are more or less freelancers (also the play’s intellectual authors), and the acting and dramaturgy students gather for a photo announcing the premiere, where everyone is smiling, and they recount - with an enviable sparkle in their eyes - that the year-long devising process of the project is the result - or rather just one station - of deep self-analysis among tears and laughter. And although the routine of the previous generation dictates that the director is the auteur of the piece, this time, outside of the stage ensemble many more people contributed to the play: from the psychologists, sociologists and social workers who aided in the interview process, to the about 70 people who were the subjects of the interviews, who provided the “real raw material” for a performance, which aims to be more than a stage production served up for an audience cloaked in the impersonal haze of the performance hall. (...) Let’s try to draw an allegory: it is as if, before the beginning of the performance, the institution of the monogamous family was the target of a bomb, and the audience would witness within the scenes the debris that is coming from the blast. At times in the form of spontaneous concerts, or a transgenerational canon, at times a nightmare, or a non-verbal thriller regarding family violence, while at other times as the monologue of a child, or an improvisational exercise, or even an interactive sequence, and so on...

Yvette Jankó Szép: Családunk és egyéb fokhagymázas lázálmaink [Our family and other garlicky nightmares], Játéktér, January 5, 2017
 

[Homemade: or how to fill the gap between parents and children with carrot stew], transindex, April 12, 2017.