"Zadara undoubtedly looks at Poland with the eye somewhat of a repatriate finding his roots and somewhat of a neophyte delighted with his new world. It looks as if, thanks to the Western episodes in his CV, he understands extremely well our fundamental collective dream - the dream of the West. And he is capable of falsifying it," writes Tomasz Plata in "Dziennik"

The theatre talking about Polishness - do you remember anything of the kind from recent seasons? I'm not even talking about the theatre referring to Polish history or drawing inspiration from earlier or later martyrological memories - of these we do in fact have quite a few. I'm rather talking about something more general and at the same time more ambitious, about an attempt to formulate on stage a more or less compact thought on the subject of our native collective identity. And all of this - as long as this doesn't sound too clever - in a phenomenological procedure, i.e. in accordance with the notion that Polishness is a phenomenon that is somehow spontaneous, with defined limits and features. The contemporary theatre has, with great consistency, spared us anything resembling this. It is probably from this that the enormous success of Michał Zadara has arisen. The barely thirty-something-year-old director has just become the hero of theatrical Poland - as many as five of his product