"The show uses a lot and well contradiction, offbeat and a certain anachronism. […] The director succeeds in capturing the mechanical condition of beings void of sense, of authentic embodiment of the characters. Through consistent detail inconsistency, Alexandru Dabija intends, I think, to send a powerful subliminal message, casting doubt over those opinions that reduce The Bald Soprano, Ionesco's debut play, to a text at the risk of becoming only a theoretical document of the antitheater."

Mircea Morariu, in: Theatre Today, Bucharest

"In Alexandru Dabija's vision, the Martins are different from the Smiths through a relative relaxation and decongestion of the state of alienation. Their identity recovering dialogue is cancelled by the maid's intervention, which amplifies the explaining effect to the cancelling identity of the Martins' child […]  It's all about changing the point of view which, in fact, is one of the most terrifying causes of social alienation. The maid is the most dramatic character, with comically derived tragic, the most transparent character, between the Smiths' frigidity and the Martins' effervescence. The fire chief finds himself to be the male counterpart of the maid."

Mihaela Dumitraşcu, in: Renaştera bănăţeană, Timişoara