What is marvelous in the planning and execution of director Victor Ioan Frunză’s staging of Millenium Approaches is the creation of an atmosphere of heavy waiting. Within the space of the stage, which reminds us of the coldness and hostility of a waiting room (the antechamber of civilian and physical death alike), set and costume designer Adriana Grand defines a multitude of sub-spaces. (...) The out of the ordinary, utterly perfect mix between realism and sur-reality, a record of proceedings (day, time, date) and dreams, dreaming, or delusion in law caused by the excessive valium consumption, like Marilyn Monroe (in the case of Joseph's sociopathic wife Harper), and an unbearable nightmare. The mix achieved by director Victor Ioan Frunză with the help of designer Adriana Grand of the fallen angels and the fallen human beings according to society is extraordinary. As I previously stated, the angels, these fantastic figures born in the imagination of the extraordinary set and costume designer are truly remarkable.  

Mircea Morariu: America, între boală, moarte şi îngeri [America, between Sickness, Death and Angels],
Adevărul, January 31, 2018

The celebrated company of the Hungarian Theatre of Cluj gives the performance a remarkable homogeneity through the contribution of the entire cast. The brittle border between reality and hallucination puts fantasy deep in the minds of the characters, who are animated by authentic experiences, and rendered with finesse and human vibration by the Cluj cast: love and suffering (Prior - Erwin Szűcs and Harper - Éva Imre), desire and cowardice (Louis - Balázs Bodolai and Joe - Péter Árus), the fear of death and the cynicism of power (Roy - Zsolt Bogdán), bigotry and empathy (Hannah - Emöke Kató), lucidity and compassion (Belize - Szabolcs Balla). The actors of the cast portray several roles – in alignment with the indications of the playwright - as a sign of the mutual conversion of genres into this world where the masculine / feminine shell does not necessarily correspond to the psychological identity of the character. (...) The two imaginary characters, the Angel - Tekla Tordai and Mr. Lies - Szabolcs Balla, are depicted with gentle, tolerant and playful gestures, emphasizing the real tension from which they are born. Director Victor Ioan Frunză scrupulously respects the original text, is mindful of the portrayals’ every detail favored by the consistency of the text, which gives the actors the opportunity to inhabit characters that have a sinuous arc.

Oana Cristea Grigorescu: Profeții mîntuirii fără Judecată [The Prophets of Salvation without Judgment],
Observator Cultural, February 9, 2018