The visual concept of the director Rene Medvešek and the musical concept of a young composer Sara Glojnarić started to blend in 2016 into a unique puppet play inspired by the fairy tale The Frog Queen and in 2017 it was premiered at the Zagreb Puppet Theatre. In contrast to the well-known version of the Grimm brothers’ tale in which the frog almost elicits the kiss that will turn him into a young man who can marry his princess, in this version the prince falls in love with the frog and proposes to her after hearing her sing. Ignoring the society's warning, and especially his father’s warning, the prince completely adheres to the singing instead of relying on what he actually sees. However, because of his trust, honesty and subtle hearing, as Medvešek calls it, the prince made it possible for the frog to transform and reminded us of the illusive nature of sight and its social conditioning.
Adapting her language and interest for multisensory olfactory installations, video works and conceptual pieces for ensemble and orchestra to theatre art, Sara Glojnarić created a musical structure that has intertwined with the narrative, actors’ performance and visual features and became an integral part of the play, not just its sound background. The theme of this play is the overload with piled layers of sound inputs and values of information that the sound – if carefully isolated – brings and the play’s motto is: “Do not sit on our ears – strain them and trust them!”