Review: KONTAKT INTERNATIONAL THEATRE FESTIVAL at Wilam Horzyca Theatre

Let’s kick things off by saying that Toruń is an absolutely fantastic city for a festival, and the Kontakt Festival is nothing short of marvelous. It’s hard to believe this is already the 29th edition, and here I am for the first time. Definitely not my last rodeo!

Why is it hard to picture a better spot for this kind of festival?

Answer A: It’s super well-connected to the rest of the world.

Answer B: You can walk between theaters while soaking in stunning architecture and rich history.

Answer C: You can munch on the best gingerbread in the universe.

If you’re on the fence, let me make it easy for you: all answers are spot on!

The Kontakt Festival is a multidimensional extravaganza that breaks away from clichés and themes, serving up the crème de la crème from Poland and beyond. You can catch the finest performances from the past year, with the list of selected shows wrapping up around January. When it comes to international titles, there’s even more room to showcase previous years’ gems. How do they pick the titles? The management has their selectors who are always on the move, watching shows and engaging in lively debates. This process is pretty much non-stop, so you could say that festival thinking is a constant gig. The Toruń crowd is used to bold choices and has a deep-seated trust in the proposals (even the wild cards) that the festival throws their way. But let’s be real; folks from outside Toruń, the region, and even the country come here.

This year, I couldn’t catch the whole festival (I’ll make up for it next time!), but what I saw and experienced definitely whetted my appetite for more! And trust me, I’ll be craving that “more”!

I checked out six performances, mostly local. Luckily, I don’t have to hand out any awards, so I won’t, but I’ll share my thoughts.

Yvonne, Princess of Burgunda directed by Adam Orzechowski, Teatr Wybrzeże (Gdańsk, Poland). It kicked off splendidly: a brass band straight out of a Kusturica film and a contemporary royal court in festive spasms in the theater’s garden swept everyone off their feet. But once we moved into the theater hall, the energy mysteriously drained away, only to return at the very end. Maybe it was due to technical hiccups or the challenge of translating violence onto the stage, but sadly, the attempt fell flat for me. Gombrowicz’s words floated somewhere near the ceiling but never quite reached me. Hats off for the guts to tackle such a theme, the music, and the quirky costumes!

The Revenge directed by Michał Zapała, Komedia Theatre (Warsaw, Poland). Staging this play feels like playing Russian roulette with a 5% chance of survival. And they nailed it! How? By understanding the text, grinding it down, and extracting its universality from what might seem archaic, nestled among mustachioed gentlemen. Tossing it into a gangster world and taking a fresh look at this well-trodden image works wonders. This play isn’t modern; it exists outside of time and circumstances, and it plays that beautifully. Characters aim their guns at each other, blackmail, seduce, and betray. They do it with humor, but it’s not a farce; it’s real life (if we were to talk in eight-syllable trochees). They’re a bit above the law, feeling lonely but searching for the best way out for themselves, each for themselves. It ends with a happy ending, but the entire performance looks like one big happy ending. Personally, I fell head over heels for the character of Cześnik—Arkadiusz Brykalski is an absolute master!

Romeo and Juliet in the Fuckup Land, directed by Ewa Galica & Michał Lazar, Wilam Horzyca Theatre (Toruń, Poland) & Gdańsk Shakespeare Festival. The biggest surprise! A brilliantly crafted dramaturgical image of a post-apocalyptic reality, where working in a discount grocery store is the highest value, where simple bread must taste the best, and people have forgotten about books. Here, feelings awaken between two people and... a book. A freaky performance that crosses certain boundaries of understanding, yet does so in a musical and very stylish way. Minimalism, great music, and talented actors—what more could you ask for? You’ll fall in love with their voices and the strength of Juliet (the wonderful Ada Dec); it’s humanity and humanitarianism wrapped in a beautiful and uncomplicated tale.

Susan Sontag directed by Agnieszka Jakimiak and Mateusz Atman, Stefan Jaracz Theatre (Olsztyn, Poland). Another bold proposal depicting the legendary American thinker’s approach to her sexual orientation through striking imagery. “Bold” might even be an understatement. The performance crosses many, many boundaries, but it does so in an incredibly safe and respectful manner. It unfolds with a calmness that doesn’t hint at the storm to come. They asked us to keep it spoiler-free, but I’ll tell you this: when the storm passes and ends, it suddenly turns out that the devil isn’t as black as he’s painted. The actors seem to be having more than a good time, and you can tell they feel close and safe with each other. The audience appeared enchanted and intimidated by the fact that in a safe environment, crossing boundaries doesn’t hurt.

Titanic directed by Michał Siegoczyński, Wilam Horzyca Theatre (Toruń, Poland). Tapping into American pop culture’s archetypal motifs, like the unsinkable cruise ship that ended up at the bottom of the sea, was a delightfully humorous move. It was the kind of show that had you laughing out loud. It’s like a blend of pastiche, tribute, gorgeous costumes, and drama straight out of a telenovela, which truly is comedy. If it had ended as a comedy (I’m talking about the performance, not real story), it would have been stellar, but then a grand lyrical voice rang out, leaving me aesthetically disoriented. It’s a pity that the production lacked dramaturgy and consistency because it could have simply been a journey on the Titanic in a funhouse mirror, but instead, it came off as illogical and incoherent. I understand that it’s tough to sum up a series of humorous vignettes from the lives of tourists interspersed with drama. Plus points for energy and costumes!

In the Solitude of Cotton Fields, directed by Timofey Kulyabin, Bormio SIA & Flow Projects GmbH (Germany, Latvia) - the show we’ve all been waiting for. The magical quartet of friends (Timofey Kulyabin, Roman Dolzhansky, Ingeborga Dapkunaite, John Malkovich) prepared a captivating story that deeply resonates. We’re transported into the subconscious, where a dispute unfolds between the client and the seller, going further than we can imagine. In a symbolic yet powerful setting, with opening and closing chambers, there’s something both beautiful and terrifying. How to prepare for this? We’re taken into a philosophical darkness, and even with a full house, it feels like we can only hear our own breath. There’s something in this darkness that we crave, yet perhaps we’re afraid to admit it. The close-ups on the screens don’t hinder; on the contrary, they allow us to control our gaze, choosing whether we want to be closer or further from the actors. Elegance, sensitivity, and strength. A big YES!

Ingeborga Dapkunaite is utterly mesmerizing, captivating the audience like a rare jewel sparkling in the sunlight, drawing everyone in with her enchanting presence.

Some statistics: there were 20 shows of 13 performances. This included 5 international shows (from Lithuania, Latvia, Germany, Ukraine, and Romania), 5 Polish shows (from Warsaw, Gdańsk, and Olsztyn), and 3 performances from the Horzyca Theatre.

In total, 5,492 spectators attended the performances, achieving a full house. The accompanying events drew in 700 participants, making for a grand total of 6,192 attendees. Make sure next year you are one of them!

Photo: Julia Marszewska

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