From the directing point of view, Sandu Grecu solves the problem from the very beginning, announcing (both scenographically, and linguistically) the “building” of the Tower of Babel, thus convincingly accepting the dialogue in different languages: Hebrew, German, Russian, Spanish, Italian, Romanian, etc. He will, of course, face various “scientific” reproaches, but the honesty of language brings us face to face with the truth: whether we like it or not, the performance is topical and original from an artistic point of view, despite not yet finding answers to the multiple questions that the director asks the audience, and, in his turn, the author asks the director. It is an eccentric performance (and staging), in which we ca find a clear poetic side and a cinema-like sarcastic narrative, without getting the feeling we’ve said something truly important and defining about the show’s profound and polyphonic character. Sandu Grecu builds “The Master and Margarita” in a particular and inventive resonance with the peculiarities of the text.