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Polski Theatre in Wrocław, director Krzysztof Mieszkowski

Wersja polska

PL

EN

Władysław Reymont

THE PROMISED LAND

Ziemia obiecana

 

 

SCENA NA ŚWIEBODZKIM

pl. Orląt Lwowskich 20c

(+48) 71 341 29 54

 

POSTER

THE PROMISED LAND - poster
  • adaptation JAN KLATA and SEBASTIAN MAJEWSKI
  • arrangement of music and directed by JAN KLATA
  • dramaturgy SEBASTIAN MAJEWSKI
  • set designer and lighting designer JUSTYNA ŁAGOWSKA
  • costumes MIREK KACZMAREK
  • choreography MAĆKO PRUSAK
  • special effects LESZEK OLBIŃSKI
  • director’s assistant MICHAŁ MROZEK

CAST

  • Anka Kurowska PAULINA CHAPKO
  • Janina Trawińska DOMINIKA FIGURSKA/KATARZYNA STRĄCZEK
  • Mada Müller ANNA ILCZUK
  • Lucy Zucker EWA SKIBIŃSKA
  • Müller WIESŁAW CICHY
  • Bum Bum MARCIN CZARNIK (guest appearance)
  • Stanisław Wilczek MARIAN CZERSKI
  • Maks Baum JAKUB GIEL
  • Borowiecki Senior; Herman Bucholc ZDZISŁAW KUŹNIAR (guest appearance)
  • Moryc Welt MICHAŁ MAJNICZ (guest appearance)
  • Tyke Tyke MICHAŁ MROZEK
  • Robert Kessler EDWIN PETRYKAT
  • Karol Borowiecki BARTOSZ PORCZYK
  • Kazimierz Trawiński ANDRZEJ WILK
  • Zucker WOJCIECH ZIEMIAŃSKI

The Promised Land has been adapted from a rarely staged 19th-century novel by Władysław Reymont. A searching look into the inner workings of capitalism, the book follows three friends and business partners, a Pole, a German and a Jew, who set up a factory in the industrial city of Łódź. The ways in which they use their differences in background and business approach to deal with competition provide a vivid illustration of the free market’s no-holds-barred mentality. Klata’s production is set in a factory hall converted into an exclusive night club complete with snooker tables and go-go dancers. Gone are the historical trappings, replaced by a modern-day story of rich men sitting at glass tables, huddling over their laptops to trade mind-boggling amounts of money and the occasional woman or other commodity. The focus here is on moneymaking itself.

The production firstly was shown in Wrocław in the postindustrial space of Waterpump House Świątniki, but now only at the Jerzy Grzegorzewski Stage.

 

co-production: Festival of Dialogue of Four Cultures in Łódź and Hebbel am Ufer theatre in Berlin; partners: Goethe-Institut Warschau and Polish Institute in Berlin

 

licensed from: Authors’ and Composers’ Society ZAiKS, Warsaw, and Polski Theatre in Wrocław

 

Festivals and tours

  • 10–12.09.2009 – VIII Festival of Dialogue of Four Cultures in Łódź (Poland)
  • 17.10.2009 – V International Theatre Festival Dialog-Wrocław (Poland)
  • 23.04.2010 – XXXV Opole Theatre Confrontations "The Polish Classics" (Poland)
  • 31.05–1.06.2010 – Polish Express III festival in Berlin (Germany)
  • 25–26.09.2013 – I edition of Poland in IMKA Theatre. Unusual Theatre Festival in Warsaw (Poland)

Awards

XXXV Opole Theatre Confrontations "The Polish Classics" (2010):

  • Jan Klata – first award
  • Ewa Skibińska and Wojciech Ziemiański – awards for acting
  • the festival newsletter "conFronta" editors’ award

Other:

  • fifth place in the competition of Hit of the Decade in Poland in the field of theatre and literature (2011)
  • Ewa Skibińska – nomination to The Aleksander Zelwerowicz Award for the best female leading role in the season of 2009/2010 (2010)
  • Jan Klata and Sebastian Majewski – nomination to Wrocław Theatre Prize for adaptation (2010)

Reviews

Klata treats Reymont’s novel as if it were a forerunner to Oliver Stone’s 1987 blockbuster Wall Street: the story of a young stockbroker desperate to make it big, whose career turns into a cautionary tale about the corrosive effects of ruthlessness, dishonesty and greed in business life.

Joanna Derkaczew, "Gazeta Wyborcza"

In this spectacular, coherent production Klata juggles his (pop) culture references expertly. [...] The sex scene with Lucy Zucker is a highlight to relish: Borowiecki plays the percussion solo from Phil Collins’s In the Air Tonight dressed in a gorilla costume (an allusion to Cadbury’s award-winning ad), the absurdity of the scene bringing out the unpredictability of market mechanisms. This is a world where a gorilla can easily, and inexplicably, become an object of desire. Klata’s production is very much about desire, which may be one reason why it dwells so much on Borowiecki’s sex life.

Monika Wasilewska, "Gazeta Wyborcza – Łódź"

Klata has delivered. [...] This is a production about women being unable to fit into a man’s world; about the male face of globalization; and about the women’s refusal to have anything to do with it because they alone still hold on to things like love or cultural values.

Alicja Szumańska, Young Critics’ Forum, Dziennik Teatralny Wrocław, www.teatry.art.pl

The Promised Land proves that Klata has not given up honing his directing style or looking for new topics to explore. This is a quality production with an impeccable rhythm, [...] impressively grotesque acting and some excellent musical and visual scenes. To approach The Promised Land as a run-of-the-mill critique of capitalism would be to overlook its many subtle complexities. Klata makes use of deceptively simple and clear-cut signs, however the contexts he puts them in, and the extent to which they are crammed together, cumulatively defuse the obviousness. In the process, their meanings prove to be surprisingly commodious.

Monika Kwaśniewska, "Dwutygodnik.com"

the openings: 10 September 2009 in Łódź; 26 September 2009 in Wrocław; 31 May 2010 in Berlin

running time:
120 minutes (no intermission)
tickets:
I seats: 40 zł (norm.), 30 zł (conc.)
II seats: 35 zł (norm.), 27 zł (conc.)
Each ticket sold online includes additional 1,50 zł technical cost.