It is sometimes worth looking at what happens outside the mainstream, besides in these off theatres, due to the fact that Warsaw has specified scenes as a actual metropolis and the capital of culture. It is hard to beat Berlin in the number of theatres, due to the fact that there are as many as 1 100 and 50 of them, but there is something to choose from in Warsaw.
I urge to you a small, chamber theatre of the Later-o-tem, at Nowolipki Street, which has been fighting for its artistic place on the theatre map of Warsaw for 10 years, and its last bravado performance "The 3rd War".
A spectator who crosses the theatre threshold goes consecutive to feverish, enthusiastic preparations for the fresh Year's Eve ball. It is the year 2100 and we will welcome the fresh 21st century. The host of the evening is Transpolonia (in this function large Maciej Pawlak), who invites you to play. Like at the prom, there's songs and assurances that it's gonna be great. Not all spectators have yet returned their coats to the locker room, and they are already kidnapped by the Bronek dancer (revelationary Maciej Gośniowski) and vocalist (Paulina Pytlak). Things start happening in the climate of the interwar cabaret and queer revue. But it's just a trap.
The artists truly invitation us to a spiritual screening, which ends with the spark of Hanka's spirit, a resident of pre-war Warsaw. Hanka will tell the guests her dramatic story, in which there will be laughter, tears, love, horror and reflection.
Hanki's communicative is so shocking that in the year 2100 no 1 remembers the past of the Holocaust, the Warsaw ghetto and the terrible destiny of its inhabitants. People live with discreet chips in their heads and consult everything with the “patron”, that is, the voice that directs their choices, decisions, and all their lives.
"The 3rd War" is simply a sadgrotesque communicative about memory, manipulation, destiny and attitudes of people towards large and ruthless processes of history. It is besides a tribute to the creators of the presentation of Warsaw cabarets and theatres to prewar authors. In the performance we can hear, among others, songs by Andrzej Włast, hits by pre-war Warsaw and feel the unrepentant atmosphere of old cafes and revue scenes.
The acting squad plays 150 percent, as if the planet was about to end. Maciej Pawlak, whose metamorphosis from the merry Transpolonia in Hanka's troubled father, deserves peculiar attention. The creation of Marcin Bubółka, who erstwhile happens to be a haunted spiritist, and later a dangerous Nazi, remains long in memory. The unique climate and magic, music, courage and different content combine into a sensational, dynamic performance that stays with us and squeezes into the soul of all delicate viewer.
