The play Say Hello to Abdo is set in a futuristic Europe and tells the story of a brutal border incident that occurred when hundreds of refugees from the Middle East attempted to enter Estonia via the Narva River. The plot weaves together personal stories and broader socio-political themes, creating a complex and thought-provoking experience for audiences.

The narrative centers on the characters' struggles with their past and future as the heroes of the play, European residents and migrants. Through dialogues and monologues, we learn about their fears, hopes, and the harsh realities of migration.

In general, Say Hello to Abdo is a fascinating exploration of people's lives in the context of migration. The play helps to better understand how identity and a sense of belonging are formed, as well as revealing the indelible consequences of the violence that people experience.

The play History Drought is based on a series of symbolic scenes in which water (the central element) represents both destruction and renewal. The water element engulfs and floods cities, washing away memories, but at the same time, it embodies symbols of recovery and rebirth. The characters face natural disasters, personal losses, and societal failures (including references to the attempts of Syrian refugees to cross the sea to Europe). The play consists of alternating scenes titled "Or" and "And." This play is a multi-layered work: it includes poetic metaphors, historical references, and allusions to works of painting and sculpture.

The multilingual play Forbidden Feelings… During the War / Verbotene Gefühle… in Zeiten des Krieges / Забороненi почуття… пiд час вiйни / Запретные чувства… во время войны is a documentary drama built on the monologues and dialogues of people who are grappling with the aftermath of war and are forced to reflect on their situation in a changed reality. At the heart of the story are the personal narratives of people from Ukraine, Russia, and other countries, their experiences, and internal conflicts related to war, emigration, and the loss of their former lives. The characters discuss their losses, fears, hopes, and the complex moral dilemmas they face in times of war. The play's style combines documentary realism and poetic elements, with the voices of the characters creating a multifaceted picture of collective memory and pain.

The play Business as usual tells the story of two young men who grew up in poor families in Tartu and dream of becoming rich. By chance, Artur gets a job in the international department of a bank in Tallinn, which primarily deals with Russian clients — oligarchs — and engages in money laundering. Artur's lifestyle soon matches his new job, but due to the intense work schedule, he finds himself with no time for his family, education, or anything else. As the risks continue to increase, the bank moves from laundering money for oligarchs to handling funds from Russian state entities after the crisis. When the war in Ukraine begins, the bank is shut down, but the major European players in the scheme remained unpunished.

On the one hand, the play tells about those processes from the depths of European elites that for many years helped Putin's Russia to increase its aggressive potential, and on the other hand, it explores the problem of "man and big money" in psychological and social aspects.

The play Please, Let There Be Peace (Pol. Proszę, niech zapanuje pokój) is about a Polish physicist of Jewish descent who left the Manhattan Project, his Jewish family that remained in Poland, and ultimately, the war. The fragmented, collage-style text combines poetry and humor. A slightly eccentric Jewish family adds a touch of comedy to the tense, almost detective-like plot about the mystery of the main character.
At the same time, the play addresses important issues such as xenophobia, human responsibility for peace and war, the problems of family roots and traditions, and the struggle to overcome them. Overall, this text is a unique example of an existential tragicomedy.

The play Limbo (Rus.: Лимб) is about a woman in Belarus who, after losing her job because of political reasons(she took part at the White ribbon revolution and was fired) , starts attending funerals of strangers at the request of friends who have left the country. This turns into a job, with people sending her requests to attend farewells with the deceased on their behalf. She lives alone, with only her cat for company. In the end, she envisions herself in a coffin. The writing is poetic and simple.

And at the same time, this play is a look inside of a human being in a totalitarian society, it shows what it means to be a human when a person feels like a stranger in their own country.

The play (Russian: Собаки и люди; English: Hunde und Menschen) portrays the literally cannibalistic face of war. The action takes place in a dog shelter, where the inhabitants have different backgrounds and personalities but share the same grim fate. The play is populated by many characters and is highly verbal, yet the static nature to which all are condemned creates a profound and terrifying picture of hopelessness from within. The dialogues between the dogs and the humans as well as their monologues present a multifaceted tapestry of individual stories, which gradually come together to form a larger picture of the war.

Toward the end, the plot is uniting: the shelter's owner receives an offer to sell the dogs for rare dishes in a restaurant, a particularly tempting proposition given that she could donate the money to the Ukrainian Armed Forces. The author pushes this grim scenario to a symphonic finale, tightening.

The play Neither Fish nor Fowl (Rus.: Ни два, ни полтора) is a grotesque tragedy, dense and merciless, about the catastrophe at the Mariupolsky Theater and the entire war. It features a choral weave of documentary and/or brutally realistic voices, painting a portrait of hell. The characters, who happen to be together in the theater building, reveal their innermost thoughts through monologues and dialogues. The theater itself becomes a backdrop, occasionally using props that come into play. Sometimes the line between reality and representation is frighteningly blurred in the play: people face death both on stage and behind the scenes.

The genre of this simultaneously composed and documentary play can be called documentary metaphysics, here real stories come together, forming a larger-scale narrative of suffering on the principle of an iconostasis.

A light yet hopeless play Adventure of a Lost Soldier is about the end of the world, featuring the murder of God, nuclear blackmail, recognizable realities, and a fairy-tale setting. One of the soldiers is sent on a vague mission, during which he encounters characters such as the Motherland, the Rabbit, a gingerbread family, and God. This is a road movie where the atmosphere, language, intonation, overall apocalyptic feeling, and interwoven stories are all exceptionally well crafted.

The play remains a comedy of absurdity, with very funny and fantastic episodes that refer to the frightening reality of today.

The play Undead (Rus.: Нежить (всегда читать как оглаголенную нежность)) is a metaphorical drama that reveals the horrifying aspects of war and the consequences of destruction. The action takes place in a world where living beings are condemned to a state of decay and eternal stagnation. At the heart of the plot is a dead mother preparing to give birth to a living daughter in a city of the dead.

The world of the play resembles a stagnant space, where the characters, trapped between reality and non-existence, experience a process of dehumanization. The daughter's monologue from the womb, the mother's monologue in waiting for her baby, and the author's monologue are included as a interactions of the plot development. The anti-war theme in the play is conveyed through allegories of destruction and death, which become a part of the characters' everyday reality.