(costumes)
directed by Konrad Imiela Teatr Muzyczny Capitol in Wrocław (2018)
Polish Water is a monodrama, although a pianist is also present on stage, creating a musical frame for the story, while the voice of a singer is heard from offstage. The performance is based on the monologue of Henryk Jamrozik from the village of Kałkowskie, previously known from its circulation online. His language – full of local anecdotes, paradoxes, and peculiar humor – becomes material for theatrical distillation.
At the center of the performance stands Henryk, played by Bartosz Picher, who unfolds his story in a seemingly chaotic yet remarkably precise manner. From his narration emerges a world seen through the eyes of someone immersed in everyday life, where grotesque blends with melancholy and absurdity proves unexpectedly true.
The performance was created in the context of the 100th anniversary of Poland’s regained independence, becoming a satirical yet tender look at Polish reality – its myths, language, habits, and collective fantasies. The music of Fryderyk Chopin, arranged by Konrad Imiela, counterpoints the absurdity of the monologue and shapes the piece into a musical performance in which classical repertoire meets local humor. Imiela refers to this as “the music of the text.”
The costumes of Henryk and the pianist form a deliberate, striking contrast. The pianist wears a light dress made of delicate lace – an outfit evoking classical elegance and stage refinement. Henryk, on the other hand, wears clothing inspired by the Sunday best of a small‑town resident: formal trousers, an unfashionable sweater, and a windbreaker. A modest, slightly outdated, but carefully washed and prepared set – like something worn “for a special occasion.” This contrast highlights the different aesthetic worlds that meet on stage, creating an additional layer of meaning.
photo: Edgar de Poray