TR Warszawa presented its mystical masterpiece; The Dybbuk, at this year's Edinburgh festival, garnering mainly favorable reviews. Those reviews which were not very favorable tended to center their complaint on the play being too intelligent. Case in point: Andrew Dickson of the Guardian felt the myth based play to be "so perplexing that" he wished TR Warszawa had "left the myth where they found it," Dickson was man enough to admit that his criticism stemmed largely from his own ignorance of comparative history and religion, on account of which much of the plays meaning "passed me by" and "was killingly difficult to fathom," while other aspects became clearer as things were explained to him by colleagues.

Apparently a play which, according to the Times, features "members of the TR Warszawa company, yarmulkes on the men's heads, sitting and talking of famous rabbis, a Messiah who wouldn't come "because nobody was waiting for him", a God who is "ajin" or "not-something", a Faustian mystic dangerously steeped in the kabbalah, and the problem of evil" might indeed have been too high minded for some. Thankfully, the plays meaning did not "pass by" Joyce McMillan of the Scotsman, who apparently didn't find it very difficult to discern that "the story speaks not only of the evil of loveless marriage, and of parental faithlessness and ambition, but also of the raging forces unleashed when powerful bonds of faith and love are denied." McMillan praised TR Warszawa's "brilliantly intense and thoughtful" play, noting that Warlikowski's directing made for a play that was "intense, slow-burning, drenched in the language of theology and mysticism, but ultimately immensely rich and rewarding." L