The creation of Szobor, Hungarian for ‘Monument’, was preceded by a series of murders of Roma in Hungary. It follows the true story of a German sculptor who created a sculpture in honour of the murdered Roma and offered it to the communities where these people lived, but was refused everywhere. In the actual play, the mayor of the village receives this sculpture in the mail, but promptly hides it beneath his house to avoid conflict with the villagers. Like Creon in Antigone, and leaders in many places, he attempts to keep something very human – the honouring of the dead – from happening by hiding it from the public’s eye. A friend of one of the victims, a boy who is not a Roma, is, like Antigone, fighting to eternalize his friend’s memory. The daughter of the mayor, who is naturally the boy’s girlfriend, is the equivalent of Ismene, who is in the middle and cannot decide which side she should be taking.
The play is intended to be interactive with the audience, with actors and participants sitting together in a ‘ring’. The only sounds used are during the entrance and exit of the audience, which is the sound of an SUV driving down a gravel road; as in the actual murders an SUV was driven to premeditated locations to carry out the horrific acts. Together with the participants and through the use of lighting effects, the three characters lead the audience to the discovery that the sculptures that were refused by so many communities are more than needed today to honour the memory of the fallen Roma.