“He looks like the boy next door, the kind of nice guy who goes unnoticed, maybe the class clown, but on stage he has truth and personality to spare. He becomes a fascinating mirror. When Przestrzelski sang (…) a perfect silence reigned. We heard our own breaths, and besides that, only the voice of the singer, his interpretation, his concentration. It was masterful” (Łukasz Maciejewski, kultura.onet.pl).
He charmed viewers and critics alike in his graduate performance, “WOOD, or… The Unbearable Lightness of the Microphone,” directed by Anna Radwan, of which the above-quoted Łukasz Maciejewski spoke with such esteem. Paweł Budziński also praised him for the performance: “Whether joyful or melancholy, whether acting or singing – he is conscious of the words he uses.” So too did Agnieszka Olczyk, writing of the actor that “his tender singing takes the breath away.”
Yet this graduation performance was not the only moment in which Przemysław Przestrzelski had the chance to shine. He made his debut on the stage of the National Theatre in 2019, in “Czartoryska: Artefacts,” directed by Mira Mańka, during which “it was a pleasure to watch the protagonists’ pulsating energy as they circled the titular Izabela” (Mateusz Koczka, e-teatr.pl), and in “The Present State of the World” by Karol Klugowski, where an avant-garde form was used to present the role of the artist in the most momentous political and social events. His marvellous craft – the ability to control his every gesture and grimace – allowed him to create an intriguing character, a protagonist of shifting identity, in another play by Karol Klugowski, “The Card Catalogue,” based on the piece by Tadeusz Różewicz. He can also be seen in “The Career of Arturo Ui,” directed by Remigiusz Brzyk at the Słowacki Theatre in Krakow.