The entirety of Konstantinos Christomanos' work, as well as his role as director and playwright of the "New Scene," cannot be understood in their proper dimensions without a detailed examination of his dramatic writing.
In The Gray Woman with various masks, set in a symbolic and neo-romantic decor with ancient Greek grandeur, Christomanos stages his own drama enriched with immense compassion for the luminous figure of Empress Elizabeth.
In Three Kisses, he takes revenge on his fate, and eroticism becomes a symbol. In Little Red Riding Hood, the hero does not die; rather, the spiritual existence of Christomanos himself—the respect he has for himself, his legacy—perishes.
He tears himself and his name apart in his own theater, before his own audience. The nihilist, in front of death, still directs the disintegration of his name, presaging his own disappearance from literary history.
In the final peace of nonexistence, the masks of his contradictory persona would find rest: the baron and the clown, the chosen one of the spirit and Little Red Riding Hood, the well-read reader of Her and the court jester of the Habsburgs and the literary circles of Athens during the belle époque, the mystic and Karagiozis.
[Excerpt from the text on the back cover of the edition]
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