Our life is a math sheet. That's where our struggles for love, death, power are fought. We try to move from one square to another, we dance, we fall to our knees, we draw impossible diagonals, we are exasperated. The lights emitted by the bars falling perpendicularly on this mathematical slab where we play out our life and immortality blind us, we end up making reckless gestures, we are swindlers, we lie to ourselves, we lie to others, naturally, we throw ourselves into the past, the hourglass lies in front of a door for the deceased from Gubbio, the past throws us into a present that only wants to annihilate itself. We drink a glass of wine waiting for a train, then jump off the train, terrified that we'll reach our destination.

Ana Ionesei: Călător sub clar de lună: Elucubrațiile lunaticului [Travelling under the moonlight: The moonstruck man's musings], Bookhub.ro, January 10, 2022

It is an important decision regarding the performance that the character of Erzsi is given almost as much emphasis as that of Mihály: in fact, the two of them together, with their real stakes, can showcase the quest that is the central topic of the novel. Erzsi, played by Anikó Pethő, opens up during the performance: she sheds her conformism in her gestures and in the way she dresses. What she does towards the end of the performance is a real decision, even if it involves resignation. Other people make decisions for Mihály - abstract fate itself, which is why the play's many ritualized scenes are so important - and certain chapters of his life are resolved and closed, however, at the end of the play, similarly to the end of the novel, a narrow escape route remains open for him. Michael will never grow up, the play says, he is an adolescent Peter Pan.

Imre József Balázs: Örvényregény a színpadon [A whirlwind novel on stage], jatekter.ro, January 12, 2022.

And so, in a world dominated by confusion, fear, fake and contradictory news, institutional botches and corruption, pandemics and news of wars, Botond Nagy's show shows us a light. We must choose life. We must live. And so, in a world dominated by confusion, fear, fake and contradictory news, institutional botches and corruption, pandemics and news of wars, Botond Nagy's show shows us a light. We must choose life. We must live.

Traian Toduț: Călători în lumină - Utas és holdvilág / Călător sub clar de lună [Travellers in light - Utas és holdvilág / Journey by Moonlight], liternet, January 2022

Erzsi's scenes were full of dynamism – her path much more action-oriented than Michael. She became a very likeable and nuanced character, who desperately wants to connect with the people around her, but keeps getting into the wrong (male) company. Mihály and Erzsi are two sides of the same coin: one of them lives entirely in a dream world, contemplating, remembering, while the other discovers his own physical desires, trying to cope within the framework of that reality. Mind and body - if either had been left out, the formula would not have been complete.

Borbála Keresztesi - Réka Fazakas: A led-ketrec, a perzsa és a klasszikus [The LED-cage, the Persian and the classical], szinhaz.net; February 3, 2022.

But the greatest benefit of restraint is that the acting within the production is what brings the play to life. The actors take advantage of this space that is freed up and they play very well. The focal point of the whole performance is practically the portrayal of Balázs Bodolai - Mihály is the kind of protagonist who interprets existence from total subjectivity, and this interpretation of existence always seems more valid and authentic to the audience than an objectifying grasp of so-called reality. We can more easily identify with this "weak" personality that admits and acknowledges the pain of existence, that confronts absurdity.

Botond Ficher: A journey backwards, somewhere inwards, Helikon 2022