"What was this really about at its core – not a fundamental criticism of the governing parties? A criticism of Germany's inadequate reappraisal of its history? A criticism of the ‘complacency of the so-called center of society’? Or was it actually primarily an attempt to use theater to participate in saving democracy? The “Trial of Germany” mainly presented a “catwalk of opinions” that was hardly about content, but rather about performing the dynamics of provocation, polemic, polarization, and whataboutism in front of and with each other – without, however, seeing through to whose benefit and to whose detriment."

In a review for the online magazine nachtkritik.de, theater scholar Theresa Schütz argues that Milo Rau and his team ultimately do a disservice to their own criticism of the emotionally driven and polarizing debate culture of social media by digitally decoupling themselves from the analog theater setting.