This text by Shakespeare is not performed often, and formally non-obvious - originally considered a comedy - it offers many possibilities for interpretation. And the creators of the Kalisz theater took advantage of them. Stanisław Barańczak and the power of his translation turned out to be extremely helpful and reliable in this work.
The expected leitmotifs of the genre appear on stage: learning the political game, succession, intrigues, diseases and their inept doctors, arranged marriages and lovers' conspiracies. There is escape to the army, ambitions for healing, love and avoiding Cupid's arrows.
Threads for a multi-episode series, but they fit and do not nest in this one crazy fairy tale for adults. The show is conducted efficiently and logically, universal and compelling, and raises new interpretations of well-known stories that are important today. Cinderella does not stay in the waiting mode, but is active, the dragons are saved, the prince can be won by the bride.
On stage we cut stereotypes. Is the dominant voice the male one? And a woman on stage and in the world must be assigned the role of victim? We recommend rejecting - following the example of the Kalisz band - existing narratives, reviving your own interpretations and taking a closer look at non-obvious perspectives
Production
Theater W. Bogusławski in Kalisz / Poland
Creative
director: Szymon Kaczmarek
set design: Kaja Migdałek
costumes: Marta Śniosek-Masacz
dramaturgy: Żelisław Żelisławski
music: Kamil Tuszyński