The strangeness of this performance is a good opportunity to reassess the levers of self-knowledge and of approaching others. The direction of the show takes determined steps towards purifying language, ridding itself of outdated theatrical conventions and outdated canonical constraints. The performance thus gives the impression of an artistic product purged of ballast, focused on a radical language essentialised along the lines of unlimited expressiveness in scenic form and textual substance.

Adrian Țion: Seymour – încă o provocare pe linia esențializării limbajului [Seymour - yet another challenge on the line of language essentialization], Făclia / liternet.ro, 12 April 2022

Five "fat" children in an institution up in the mountains. Dr. Bärfuss, who lives far away, has set up precise rules for a "cure" that will help the little ones lose weight and perhaps become real people again. They are all hoping that the doctor will arrive and attest to the success of the cure, thus finally allowing them to go home.

The characters in Seymour are bound together by a terrible absence that has taken root in their souls and to which they can only react with fear and anxiety. They find themselves in a place and a situation not of their own choosing, where they have been ordered by the powers that be. They are the condemned misfits who hope that by becoming others they will finally gain acceptance. The guru who embodies the ideal and holds the solution in his hands is not present, while they are constantly awaiting his arrival. It is clear from the outside, but they are unable to articulate what is actually missing, so they most often cling to desires that are not theirs, that do not come from them. Or cling onto each other. And there is no rebellion. Is it any wonder, then, that they can't make these dreams come true?

Balázs Bodolai