A new production by The Eighth Day Theatre is a return to the intimacy of the room, to the old distinct tone of diagnosing reality, another bitter commentary on it. The artists of this alternative theatre company revisit themselves, trying to define themselves in confrontation with the new world. Those who remember Dance As Long As You Can presented at the first edition of the Theatre Confrontations and those who saw ‘Wormwood’ or ‘No one’s Land’ will recognize a familiar tone, but also notice that the world has changed. The production is ruled by a collage structure, scenes are like footnotes to the real life. It is a story abour a Byelorussian woman from Chernobyl. A shot from the Chechnyan war. A challenge by a man who identifies the bodies of people murdered in Bosnia. A lament of an old retired man. A woman has to undergo humiliating disinfections. It can happen to anyone who is suspected of SARS or AIDS. Then the stage turns into a rifle range: the actors with guns in their hands create a metaphoric image of the street in which everybody can be a casual or conscious aim. In another sequence we are in the Seym cabaret inhabited by politicians with paint pouring from their mouths.

Łukasz Drewniak „Przekrój”

The most recent production of the Eighth Day Theatre is interesting in every aspect of it, with a number of artistically splendid moments, including deeply moving scenes presenting theatrical visualization of the Chechnya holocaust which was as if accepted by the whole world after September 11th. Doesn’t it remind us of anything familiar from European history? (…) Do you want to see your own conscience in a distorted mirror? You can’t miss Door Keeper’s Lodge’. A tragical grotesque in the fumes of absurd which we co-create somehow.

Tadeusz Żukowski „Gazeta Poznañska”