- WORK is a very contemporary play, which talks about something we talk about all the time nowadays: burn out at work. Why do we encounter this problem so intensely nowadays? What do you think has changed compared to the past?

Working relationships in the modern world have completely changed. Even those who can be considered "successful" are forced to work intensively in places full of insecurity and competition in precarious though well-paid positions. Imagine those who, in addition to these problems, have to deal with the violence of unpaid work. We are still seeing in our country the rapid increase in accidents at work. The values of human life have not changed. But there is a pile of 'interpretations', 'instructions', distortions, 'conditions' that define even the minimum of our daily life and take us away from them. Watching events in the world at large, insecurity, fear, anxiety about what is coming can lead everyone to burn out...

- At the same time, the play addresses the issue of over-use of technology. What do you think are the dangers of this? Do you think theatre is affected by this over-use that characterises modern life?

All over-use hurts at some point. I don't know if we're talking about dangers or already existing damage. To talk about a more "painless" side, I don't want to have an opinion on anything. From where to where? How can I have an opinion on something if I haven't been hurt - paid the price? I don't want all this accumulation of information this anxiety of information about the slightest thing. I don't want anything to come between me and my doctor, for example.

Theater is a process in life that requires physical presence. I don't think it can be affected by the over-use of technology. Maybe we can't sit in one seat for 2-3 hours to see what these guys have come up with on stage. Maybe we're not willing to get into this game of time dilation seeking thrill but that's a matter of education and seeking. Then again, maybe theatre people will find new ways to move the modern "hurried" audience.

But the theatre, I think, as a genuine child of democracy, is only endangered by its lack of democracy. What I fear is that the over-use of technology is related to the deficit of democracy that we see spreading... So....

- Tell us a little bit about the role of Lloyd, which you interpret.

Unfortunately I can't say much about Lloyd as the play is a... thriller and we can't reveal his secrets.

He is a prominent psychotherapist in San Francisco who, for his own personal reasons, frantically seeks out cases that" have no hope of being helped". A now aging hippie who has a hard time learning the terms of the new age yet manages to get by, he gets away with it... the rest of it up close and personal.

- You are an actor with a long career in the theatre and in this show you work with a very young actress, Nina Papageorgiou. What is it like to coexist with a colleague from such a young generation?

It's very nice this collaboration. We have the same struggles, the same difficulties, similar problems... I guess I never stopped considering myself a young actor... Nina has some of the problems and concerns of children her age but she doesn't have the vices that some actors her age have.

In the theatre we have this great luck to have people of all ages working together. This is a great joy! As Vasilis Papavassiliou used to say, the stage needs the different rhythms of bodies of all ages.

- What can we expect to see in the show?

I hope we will be able to see reflections on important issues of modern life in relief. Don't expect any answers, not even about the history of the play. Expect that at the end if you discuss with your friends you will argue about what has happened and we will give no answers about who is right.