Renate Keerd’s production, “The Charm of Burnt Fields” (“Põletatud väljade hurmaa”), is of the genre of a physical-psychedelic contemplative tragedy in a comic-poetic form. Or the other way around. It all really depends on your viewpoint.
Põim Kama (Postimees - an Estonian daily): “In a newspaper I would leave half the page empty and just write in bold: “GO SEE IT YOURSELF!” And at the bottom in an illegible script I would add: “Warning! The play may cause an unusual desire to do a cartwheel, blow soap bubbles or kiss a stranger!”
Katrin Maimik, Andres Maimik (Eesti Ekspress - an Estonian weekly): “The production gives the viewer a chance to smash down their overflowing bucket of inner shit and throw off their weighty burdens – their position, their duties, the inevitability of life, the anxiety of language, the dishes piled in the dishwasher, thoughts that lead nowhere, the mother-in-law’s birthday. And just rip of your clothes down to your undies and play along in your mind, roar and romp and racket, wallow, crash and slam, escape from stupid thoughts and the emotional poisonous fumes circulating in the piping – into a pure physical bliss. And then, having twitched yourself empty and cleansed yourself in front of the shrine of love, go back to your home of grey walls and white ceilings, turn on the dishwasher and lie down next to your spouse, without the pillow being soaked from yearning.
Iiris Viirpalu (Müürileht): “In “Burnt Fields” one can again see how using human patterns like Lego men, and creating inventive choreographic pictures is the undeniable ace up the author’s sleeve. Renate Keerd’s plays are characterised not only by the performers’ visible sense of danger, but also by a constant perception of danger from the audience.