The small fringe theatre ‘Moment: Teater’, is situated in the suburb Gubbängen some thirty minutes from Stockholm city. The theatre is known for freely and creatively interpreting both traditional and contemporary dramas. Since its foundation in 2000, it has also been industriously at work applying new techniques to create alternative frames of perception for its audiences. The Moment: Teater’s aesthetic manifesto argues that theatre itself is illusory and has no place in the theatre. Instead, they explicitly state their allegiance to ‘reality’, and to ‘eliminating the “illusion theatre” that Brecht failed to abolish’. The productions are therefore consistently ‘kicking against’ the alleged hypocrisy of theatre-making. In a world of illusions theatre is the cure, but only if it is able to eliminate itself. Given the theatre’s reputation, it is therefore curious to notice that when the co-founder and director Pontus Stenshäll staged Waiting for Godot, Swedish reviewers consistently commented on his (dis-) respectful submission to Beckett’s text.