Tokyo, Dusseldorf, Berlin, Lyon, Warsaw, Szczecin, Krakow, India. The most important awards at festivals in Poland. Standing ovation and emotional conversations after every performance wherever they appear. The sensation of the IETM and EEPAP meeting in Krakow in 2011. Controversial opinions of critics and most prominent figures of European theatre world (people like Heiner Goebbels and Matthias Lilienthal took part in a vivid discussion about the chorus). Enthusiastic opinions of some feminists, anger and disappointment of others. A bit of uncertainty and fear among the male part of the audience. How can we explain the phenomenon of this recently most popular Polish performance in Europe?

In the long tradition of European theatre nobody has ever worked like this. The 25 unique women who appear onstage where chosen from the casting call. Governed by the dramatic power of Marta Górnicka, the author and director of the performance, the chorus goes from shouting to whispering, from chanting to hissing. And still we remain under the impression their natural power escapes any kind of classification and we are being deceived by the illusion of structure and order.

Magnificat, the second part of the project, debunks with cunning humour the myths about the Mother of God, the Queen of Poland and the Polish mother we all know so well. Members of the chorus cast their roles that have been imposed on them by Polish-catholic tradition and start speaking their mind.
Musical masterpiece, theatrical challenge. A truly fascinating performance.