The famous hero with a big schnoz in Rostand’s play is a symbol of man’s eternal yearning for freedom and love. Is it possible to achieve both? Is freedom a matter of the heart and love a matter of the mind? Can one really be free without love? Is love possible without freedom? Does true love really exist or is it just a machination of our brain? What is more typical of humankind – sacrificing love for the sake of freedom or sacrificing freedom for the sake of love? And does an exceptional human being have the right to achieve both ideals? Does one have to choose between love and freedom? Are beauty and love in a proportional or inversely proportional relationship? Does freedom represent beauty or is it a necessity of true human existence? In a world plagued by voluntary escape from freedom, is the art of loving necessary or even possible as an embodiment of supreme humanity? Rostand’s play is often burdened with an excess of charm and a lack of belief in immanent potential of ideas it contains. Our adaptation follows this particular line of thought while asking the eternal question from the Old Testament – is everything just vanity of vanities and vexation of spirit?