Younger Verkhovensky is Pyotr, Petrusha, Petrushka, a traveling buffoon without a tribe, a petty schemer, a wickedly cunning trickster, a deceiver of simpletons, laughing at the results of his tricks. Petrusha is received with honors and pathos, and he is happy to have fun on such a fertile field, to have fun cruelly and sometimes bloodily, destroying everything that in any way denotes his past. Dostoevsky's novel is an all-encompassing evil satire, a mockery of the emptiness of ideological shouting, the falsity of provincial gloss, the multiplication of universal deception, unfounded claims, and the insignificance of thought. In the empty space of the stage, Roman Gabria opens up a balaganza before the audience, turning the terrible into the funny, demons into pagliaccians, monsters into caricatures. The actors are given exaggeratedly comic make-up, parodically extravagant plasticity, deliberate intonations, grotesque mise-en-scene. The theatricalization of the world, reality, existence - this is the way of reading Dostoevsky's text in the performance, an unexpected and daring look at the Russian classic.