A small group of homeless alcoholics make their home in a deserted railway station, where they try to solve the world's problems and reconstruct the train timetable. They have but one goal in life - to rob the train passengers and fuel their next alcoholic adventure. However, the trains never stop at the abandoned station. One day, a mysterious stranger arrives. The man is an illusionist and master of the impossible, whose enigmatic allure captures the minds of the small group. The stranger is delighted to receive the attention of a new audience. Together, they seek to make the most of the only privilege of their position - that of illusion. Their world soon becomes one big magic trick, in which each attempts to repair the damage done by reality. Yet when reality finally breaks the illusion, a new day has dawned.

Hristo Boytchev wrote Orchestre Titanic in the autumn of 1999, a few years after Le Colonel-Oiseau. The two plays have much in common and mark a turning point in his work. In contrast to his earlier works (written before 1989), the notion of confinement and desire for freedom disappears. Freedom is no longer an inaccessible privilege, nor a coveted ideal. In many ways however, when the barriers are broken, the concept of freedom becomes even more complex. Boytchev's characters are able to decide their own fate; they have a choice. A choice they fear and postpone. What are these new barriers, even more insurmountable and terrifying through their invisibility?