We set out to create a large scale show, developing all the ideas that turned up however expensive they were, with unlimited equipment and artists. But obviously with one small detail: everything would be in miniature. The challenge was, on the one hand to achieve a performable work of this size, and what we would do if we really could work under these conditions, and on the other hand to question this megalomaniac creative artistic model which suffers very high budgets, whose real value and contribution to the performing arts can rarely be proven. And this last point is what brings us back to “Much ado about nothing. [...] We emphasised the critical point of view of the monumental works which are very ornate but lacking in content, very gimmicky and dishonest works where the large dimension seems to justify its value and artistic interest, but from the eyes of a humble artist they are a waste of money, easy resources, and time”.