“…The Octopus questions several phenomena of Generation Z, trying to point out the responsibility of adults. This makes the narrative arborescent (hence the title) and integrates secondary narrative threads: the story of David’s girlfriend, a girl from a precarious single-parent family, who becomes pregnant; the story of David’s father’s family, with his second wife and their child; the story of the bullied schoolmate, etc.” ( Oana Stoica, Neighborhood Theatre – Generation Z and Toxic Parents)

“…The Octopus neither excuses nor accuses. Instead, it lays the flesh on ready-money kids with suicidal tendencies, teenage relationships resulting in abortion, psychiatric prescriptions that temporarily blur the absence of a parent, much younger girlfriends, or mothers for whom children and business are equivalent (“If you let them out of your sight, they’re out of your hand”). From the childhood in which cops are treated with bribes to the threshold of the baccalaureate, which takes precedence in the interests of the father in favor of an already obvious dependence (“Do what you want, you take my baccalaureate”), the show proposes, on a downward slope of subtlety, a fall into excess seen entirely from the subjective angle of David (Dragoș Stoica), the problem-child.” (Adda Mihăescu, ” Caracatița” or the trauma bond generation)

“…Snail follows the childhood and adolescence of a son who becomes a “problem” because of his parents’ lack of attention and affection. It’s a classic case of “in this family money is worth more than love”, a cliché that unfortunately is as common as it gets. The relationship between the passive-aggressive mother (Corina Moise), who is hungry for wealth, and the “cool” father (Ionuț Toader), a biker and a big money contributor, proves to be a defining one for their son. With a narrative thread that spans several years, the play invites us to witness the radical transformations that take place in the dynamics between the characters. (Oana Balaci, Heart Like a Fist – The Octopus)