We live at the beginning of the cosmic era. We are the witnesses to the great change. Surrounded by the spate of media reports about the war, helpless in the face of the crisis of imagination and the lack of the adequate narrations, we try to recognize possible variants and tell the story anew – to find a way to forget the fears of the modernity, at least for a moment, to regain agency and influence the course of the events. Is it still possible to think this world differently? 

 

Four representants of the human species guided by the AI, takes the final showdown: everything is at stake, action takes place on the Planet Earth, this bizarre escape room… 

 

The performance consists of surprising plot twists, plays with convention, dialogue with pop culture, bitter irony and dark humor. The monologues are intertwined with group scenes in which movement, singing, dancing, fun and music are dominant. While, everything is leading to a surprising finale. ‘I hope that the next planet won’t let to beat itself like this’ says one of the characters.  

 

How to create in the final times? Warn against the inevitable to somehow save ourself from it? Joke around in a wave of so called gallows humor? Kana Theatre asks this question to both themselves and to us from the stage perspective. In all seriousness, yet not without a blink of an eye. It’s not accidental that the theme of the play is the escape room. The characters locked in the room have a task ahead of them - how to escape a room from which it is either impossible, or certainly very difficult, to escape? Keeping in mind that this particular escape room is the Earth, the planet of the people. Well, the task in front of The Fantastic Four is worthy of the Marvel superheroes, it’s to save the world. The apocalypse presented in The Possible Worlds is paradoxically cheerful. It doesn’t mock the world but smiles at it. It doesn’t negate the efforts to save it. However, it sorrowfully jokes about hope that it is possible. They make good theatre. Intelligent, discretely funny, and as usual amazingly ensembled with a few incredible solo performances. Everything is choreographically polished and convincing with the creative image. Kana actors smile at us and at themselves. Wry it’s a smile, yet above all it’s a sad one as in its melancholy the sorrow permeates sometimes silly and childish jokes that are presented by them – still young artists from the oldest and the most loyal off theatres in Szczecin. That is why this sad and funny play simply touches. Okay, maybe not everyone but me for sure.

( “Ostatnie odliczanie “ -“The final count”, Artur Daniel Liskowacki, “Kurier Szczeciński” newspaper)

The performance was created as part of the OFF Polska program organized by the Theater Institute in Warsaw. Zbigniew Raszewski. Co-financed by the Ministry of Culture and National Heritage.