A hysterical bout of laughter from Czepiec and the Journalist follows the famous words “What news in politics, good sir?”, just before a wall of noise from the black metal group Furia blasts out, striking up the dance for the wedding-guests – this is the dynamic beginning of The Wedding AD 2017 in Jan Klata’s rendition. Instead of the picturesque Bronowice hut, we have a land in perpetual reconstruction, but the director does not exert himself to update the drama: the scaffolding designed by Justyna Łagowska wrapped in black plastic, the tree stump, and the empty chapel create a disquieting backdrop where two separate worlds can meet. The two sides – the blasé city-dwellers devoid of verve and charisma and the bawdy “folk” full of vivacity and blindly seeking a vent for their emotions – only unite in moments of trance-like dance. Around the stage, on four monumental pedestals stand musicians with black-and-white faces (contemporary Straw-men). The action plays itself out in time to their music, “half mocking, half serious,” but in the ecstatic moments the choreographic arrangements by Maćko Prusak bring the temperature to a boil. A moment later the protagonists sink into another marasmus, “only fiddling with their dreams,” eternally awaiting a sign.

This is a “Wedding” without the concluding straw-man dance, because the dance continues throughout it. It is a remarkable show of strength of the multi-generational acting ensemble of the National Stary Theatre, and it ideally suits the mission of the national stage. It approaches the literary classic with respect, and the phenomenal actors allow every word of Wyspiański’s text to ring true.

Jacek Wakar, Magazyn O! Kultura

The performance is not recommended for viewers under 16.

Performance is taking part in the 3rd edition of the competition: „Klasyka Żywa”.