Memories obsessively coming back to the theatre, in a voice ringing out on a practically empty stage, transform into a multi-tiered narrative that aims less to evoke certain structured events than to give itself to be assembled into possible stories, than to mimic the very act of remembering. Memories of the female protagonists form the axis of “Savannah Bay” – the piling up of recollections, some romantic, at times traumatic, summoned up in dialogues between the actors (Anna Polony and Alicja Wojnowska), and followed by the audience.
Marguerite Duras did not intend to experiment with theatre conventions; nonetheless, she shook the framework of traditional drama and theatre. The stage directions in “Savannah Bay” are as essential as the characters’ lines and should be read out on stage. She does not offer knowledge, she shares her doubts. Duras’ drama shows how the frailty of memory makes reaching the truth an impossibility.
I have dreamed of doing this play for many years. The script is a concerto for two great actors; a play full of poetry, a reflection on the world and the human condition. It delves deep into the essence of theatre and the mystery of acting. It is one of the most beautiful of modern scripts. I am convinced it is perfect for performing at the Stary Theatre and the Polski Theatre in Warsaw, where these sorts of unusual scripts find their world and feel at home. I see I share my great passion for this work with the actors and our team of collaborators. I hope our love of “Savannah Bay” will also be shared by audiences. (Józef Opalski)
“Savannah Bay” is (…) in part a play about the theatre, in part about acting, but above all about life, the passing of time, and the eternal conflict between Eros and Thanatos at the confluence of all the rivers of Hades. This is undoubtedly a play which leaves no viewer indifferent (…). This wise and mature piece of literary writing raises issues that are fundamental to all of us, touching the most human of human experiences.
Paweł Zarychta, e-teatr