Photo by Dmitrij Matvejev

Stories of love and hatred of the Capulets and the Montagues are transferred to modern times, the end of the 20^th century. Two competing pizzerias are boiling with fervent, Italian-like passions of Lithuanian actors. Soon everything is covered with white flour of death. The performance is worth seeing for scrupulously arranged set design by Jūratė Paulėkaitė.

PRESS__________________________

In the performance, the swing of acting of the actors balances only between very good and excellent. Of course, one can always make a minor remark concerning some debatable moments of acting of one or another actor; however, it’s necessary to keep in mind that this is the top level. The team of actors shell admirably the score of Romeo and Juliet by Shakespeare. The joy of acting is the first thing that catches the eye, and it cannot be fake.

By Valdas Gedgaudas. Connection – Pizzeria or the Black Love Mass (Lith. Ryšys – picerija, arba Juodosios meilės mišios), Respublika, 07-11-2003

The aesthetics of the performance is reminiscent of films by Vittorio de Sica. It is also full of Italian neorealist spirit. Flour and dough wars, humour balancing on the verge of filth, social relations, the costumes echoing of the fashion of the sixties by costume designer Jolanta Rimkutė – all of this gives an aura of neorealism as well as Italian film classics.

By Rima Bočiulytė. The Most Excellent Love Story Has Been Covered in Flour (Lith. Įstabiąją meilės istoriją užsnigo miltais). Klaipėda, 05-11-2003

The annual ball of the Capulets reminds us of family feasts from our childhood. Thrilled with festivities full-breasted women with bouffant hair styles are swaying their hips seductively and you can almost smell the aroma of pies and pickled cucumbers. The encouragement to party from the lips of Lord Capulet (by Vaidotas Martinaitis) can be recognized from that aggressive note of insistence; just like soothing of hot-blooded Tybalt (by Darius Gumauskas). (…) In the performance, Shakespearean-like hatred elevated by the reason buried in oblivion, high blood of the quarrelling families, flashing around with swords, and winged rhetoric have been simplified and brought down to earth.

By Alma Braškytė. OKT: About Love and Hatred Emotionally (Lith. OKT: emocingai apie meilę ir neapykantą). Šiaurės Atėnai, 08-11-2003

First of all, hatred, aggression, and virulence pile up in the family and among friends – enemies are just an excuse for the outbreak of fierceness and intolerance. If there are no enemies, one must find them. (…) The world that has killed love with its hatred and aggression has no future – at the end, not only Romeo and Juliet are scattered with flour, but also all the citizens of Verona.

By Valdas Vasiliauskas. Modern Romeo and Juliet – from Competing Pizzerias (Lith. Šiandienos Romeo ir Džuljeta - iš konkuruojančių picerijų). Lietuvos rytas, Mūzų malūnas, 04-11-2003

This must have been the first time that I’ve truly felt the rhythm of pulsating time and temporary life on Lithuanian stage. This rhythm is so rich, so full of events, people and their relationships that the one and only true love unfolding within that diversity is intentionally pushed almost to a seclusion.

By Rasa Vasinauskaitė. The Most Excellent and Lamentable (Lith. Įstabioji ir graudžioji). 7meno dienos, 31-10-2003