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What does a director need to sacrifice for his profession?

Very often – his personal life. It also happens that you are forced, want it or not, to accept different people as they are – impersistent, not loving, not understanding… While I can’t live without love and when love is on hold – I make up for myself a new, intriguing fantasy or some imagery. It’s important to me that I’m always in a state of being in love. But sometimes, when you are busy loving, you forget about your family. Then your closest ones become victims of your latest devotion. This is a heavy burdon because you realise – it’s not suppose to be like that, they are not suppose to forgive you every time. But, thank God, I’m often forgiven…

Who do you address with the “Soap Angels”?

All the people. We wanted to make a human production. I knew that there would be the choosy viewers who won’t like it – the modern theatre critics, the conceptualists who always know how modern theatre should sound like. But I’m interested in the common, sensitive, sentimental viewer. When you present him, the one who chose to come and see this show, with specific problems – without trying to make him look stupid or dumb – he suddenly becomes interested in analysing those for himself, for his own life. If the person on stage is not simply showing off or trying to look like a big star but is asking humanely each viewer in the hall – “And what about you – do you want to be loved?” – then each viewer will answer. I think theatre should pose simple, human problems. Every scene from this production brings a different message. If we try now to separate a single thought or a single emotion – it would make the production very poor. At the end of it, the most important message is to remain human, to preserve our souls regardless of the circumstances. We have to forgive. We have to love and to forgive. 

~ Alexander Morfov, interview by S. Volodina, "Vash dosug", January 2010