Creamy and crispy as the cockroach blatantly swallowed by megalomaniac Cosmo Disney, this dramatic project, inspired by the cult play by Philip Ridley, throws us in the domestic and claustrophobic dimension of a one-room apartment in the East End of London, where life ows in the psychotic and compulsive reiteration of vocal and physical actions. Their apartment becomes borderland between childhood and adulthood, between innocent diversion and ambiguous role-playing game. Andrea Peghinelli and Elisabetta Pastore – creatures of a reality raped by the pain and suffering masks of a discomfort that has no time and no cure – interpret on stage the dense and intense magma of fears and phobias that stirs in the most unexplored creases of their memory, moving in a scene whose metaphoric meaning is a tangible sign of an unresolved daily life that is about to collapse. A daily life that, without reassuring certainties and evident references, has to reinvent itself continuously as a contained bastion of ancestral feelings, a place free of the dangers and assaults of an adult world, refused and perceived with fear. Elena Vannoni – thanks to an elegant, brilliant and pungent staging – makes us witnesses of an unexpected profanity, a relentless attack to the small world of an inert survival of the Stray twins who – despite themself – will be swallowed with incredible rapidity by the seductive incarnation of every fear, as a lively meal of darkness. Francesco Mastrorilli – interpreting the entertainer Cosmo Disney, a condent and attractive rogue – offers us the double-faced image of pitfalls and threats, fatally breaking in the asphyxiated and conned microcosm of the two protagonists with all the load of fascination and ruin that comes with evil and sin.