The concept we built with the help of the costume designer Lily Ben Nachshon was shadow play. The idea was using a double-meaning simile, which hides more than it reveals, a simile that despite being precise, does not reveal the truth behind it.

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In order to film and create the silhouettes, I used a large screening fabric and a special light to make sure the silhouettes are sharp. We built every image with precision, making sure it is in accordance with the stage composition and occurrence. Working with shadows is always interesting and inspiring.

To our surprise, many of the viewers were convinced that the shadows were made by actors and acrobats backstage. They didn't figure out that the silhouettes were screenings of characters who were not there at all.

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Three years after, we were called to Moscow to re-launch the show in Maly theater, with a new cast and stage.