Some brilliant ensemble work succeeds in executing a mad theatrical idea – performing the whole of Sienkiewicz’s Trilogy in a single evening. The premiere of this play, which has enjoyed packed houses for several years, was part of the re_visions/sarmatianism festival: “Klata’s revision of the Trilogy is not strictly about exposing its flaws, opening wounds and compromising Polish political thought, with its xenophobia, superiority complex, and short-sightedness,” states Joanna Targoń. “We join the actors in reliving all the wars, invasions, betrayals, pursuits, and escapes, in condensed and abbreviated form. Is that still Zbaraż, or is it the Warsaw Uprising? Is that 17th-century Ukraine or Katyń? Time grows murky, the national traumas overlap. (…) The play ends with the same funeral speech that opens it.” During this time the audience undergoes a bitter, but truly liberating collective psychotherapy session. The remarkable intensity of the acting and the brilliant sets create a breathtaking and hypnotic spectacle.
Klata is interested in the “Trilogy” as a founding myth of Polish patriotism. As a phenomenal record of our grotesque wallowing in history. (…) Suddenly we see Sienkiewicz’s world and its protagonists in a whole new light. Klata salvages the true love, battling heroism, and authentic sacrifice of these protagonists for their homeland lurking beneath the mating rituals. Even clowns truly love and die. It has happened. Jan Klata has finally made a play about love. Łukasz Drewniak, Dziennik – dodatek Kultura