The production presents the audience with an astonishingly grandiose vision, in which the controversial figure of Rasputin is cast in an almost Christ-like role, in the light of the madness we call the twentieth century. The faces on either side of the set, the victims of the various massacres, are, at one point in the performance, named on the display, but not with the intention of mere deterrence: we are made to realise that we have done this to ourselves, in this terribly unpalatable ticking time that, on Sardar Tagirovsky's stage measures our actions, sometimes as a sound effect, sometimes as a metronome of a tilted chair.

Judit Ungvári: Az idő pillangó–hatása [The Butterfly Effect of Time], Kisvárdai lapok

People are always attracted to the gift of prophecy, the prophet’s person. In ancient Greek dramas, one can catch glimpses of the prophet. According to the values of that time, science is equivalent of this profession, ability. But it's equivalent to the theatre, too. Which has a huge value in the eyes of the contemporary people. The theatre meant festival and ritual for most of the citizens. This holiday gave the opportunity to connect higher forces. Our modern world often questions this this ”higher power”. A lot of fake people lives back to the people’s faith. It is a daily experience. We are going to fight for survive. It could not have been very different at the beginning of the 20th century, when everything was transformed, everything that the human being caught up as part of reality. The world of science and money placed the focus somewhere else.