The work consists of three independent episodes. In the first, we follow a telephone relay, thirteen phone calls between eight people, a continuous passing of responsibility among government officials for the sinking of a whale. The calls escalate to increasingly higher-ranking officials. In the last calls, continuous gunshots are heard, a sign that the die is cast: all have collectively conspired in the "euthanasia". [...] The symbols are so legible that there is no room for misinterpretation: it is a work about the Adriana shipwreck that occurred off Pylos on June 14, 2023.

AFRODITE FLOROU In his third theatrical attempt to speak about the crime of pushbacks, about the euthanasia that the state, through its officials, offers to the dying whales, Th. Triaridis goes a step further: he points the finger at people, with their institutional positions, and incidents. He moves from the general (Western civilization) to the specific (Greece and the European Union, as he notes in his introductory remark) and the particular. And, as current events gradually emerge as the "plot", the work begins to resemble a caricature of History, precisely because it does not focus on plausible realism, but on the raw reality of everyday life – ours.

ROZALI SINOPOULOU The most urgent lesson of this theater is perhaps that innocence is not available. There is no neutral spectator in front of a sinking boat. There is no politically innocent citizen in a society that tolerates the disappearance of people at its borders and then re-writes them as numbers, incidents, burdens. Responsibility can be shifted, weakened, made invisible, but it does not disappear. It remains. And it returns every time a survivor says: "I will never forget this". It remains every time a work like Triaridis's insists on turning state silence into language, into theater, into accusation.

EFI DOUSI