Tarabumba! But the Circus...

For groups it is possible to order workshops for the performance.

The narrator of this story is Bambino — a bit of a trickster, a bit of a poet, who escapes from Boredom. Not as ordinary as boredom during a long trip or on a rainy day, but the bigger one — which takes away the desire to act and the joy of experiencing everyday life. Bambino goes to the circus, which turns out to be no ordinary place. It is a circus in which each character has his own problem and his big dream: The elephant is afraid of the Mouse so much that he smashes everything around, although in fact he likes it very much. Lotta Pig loves to fly, but she is afraid that one day she will get stuck in a cannon and will no longer fly. The Fire Swallow, who used to be the star of the arena, is overwhelmed by the prose of life - today he indulges in cooking and a little misses the old magic of the circus.

In this way, a story is created about the fact that everyone has the right to feel, to experience, and sometimes to be afraid — and that through closeness and imagination, hope can be found. The show does not give ready-made answers, but it raises important questions — and encourages children to look for theirs. Older viewers will hear a gentle echo of the legendary Tarabumba Circus, younger ones will discover that the theater can be a place of joint fun, conversation and authentic emotions.

Tarabumba! But the Circus... is an invitation to travel together — through laughter and emotion, through strangeness and beauty. Because even if sometimes Boredom appears, somewhere nearby there is always a different, colorful world - full of adventures, feelings and dreams.

The performance is a contemporary variation on the first performance of the Grotesque Theatre from 1945 — the famous Tarabumba Circus directed by Władysław Jarema. But don't expect a historical story. Our show is a theatrical experience full of fantasy and color — created for children and their imagination, but also for adults who still remember what it is like to dream.

The main character of Marta Guśniowska's drama inspired by “Circus Tarabumba” captivates me and I hope that he will also captivate the audience, with his unbridled enthusiasm, inexhaustible energy and incorrect optimism. For me, it is a show about a maturing artist, but also about saving a unique, unique world, full of diversity. For the youngest viewers, it will probably be a show about building friendships, about love and about the fact that... “You don't abandon a dog, not a dog...”.

“Tarabumba! But Circus...” will also be for those Krakus who still remember the famous premiere of the Jarem state and for those who come to the theater perhaps for the first time. Multi-layered, multi-level, magically — though without tricks, metaphysically — though without philosophy, funny — though not cabaret and touching — though not too serious, but certainly in vapors of absurdity!

Magdalena Miklasz-Turna, director of the play

“The show itself combines very loosely with the historical Tarabumba, but constantly reminds us of the characters that appeared in Jarema's play: the Elephant (Lech Walicki), the Poodle (Paweł Mróz), the Lion (Andrzej Kopczyk), the Ghost of the then clowns Łatek, Kwiatek and Gagatek (Maja Spychaj-Kubacka), of course the beautiful Ballerina (Zuzanna Bah; puppet Bartosz Watemborski) and many other characters. The whole acting team is constantly busy, the stage is teeming with characters, actors in costumes, masks, different types of dolls (by the already well-known Olga Ryl-Krystianowska), moving elements of decoration, scenographic feeria (set design and costumes Marta Śniosek-Masacz), music that perfectly corresponds to the atmosphere of the performance (Anna Stela), expressive choreography (Marta Bury), above all swirling colors, fancy costumes and almost musical splendor. Such a spectacular puppet show is unlikely to be seen on Polish stages. And in addition to such a singing band (vocal consultation Jarek Oberbek)!”

Marek Waszkiel, www.marekwaszkiel.pl

“Marta Guśniowska (the script) perfectly balances between a joke and a certain nostalgia and seriousness, she flirts with the present - the world on a macro scale and theater on a micro scale, here and there she sticks a pin, she is satirical and also absurd, which the director Magdalena Miklasz-Turna senses wonderfully. The stage is full of colors, the number of actors, dolls (Olga Ryl-Krystianowska), phenomenal scenography and costumes (Marta Śniosek-Masacz). Music (Anna Stela), choreography (Marta Bury) and visual madness are musical momentum, and perhaps operatic splendor, although as the Circus Critic (Krzysztof Grygier) says, little happens in opera...”

Georgina Gryboś, Radio Krakow Culture

“Tarabumba! But the Circus... is two hours of beautiful fun in the company of dolls and actors who surprise continuously”.

Blessed Anna Simolon, PRESTO Portal

“For me, it is a show about a maturing artist, but also about saving a unique, unique, full of diversity world. For the youngest viewers, it will probably be a story about building friendships, about love and about the fact that “You don't abandon a dog, not a dog...” - commented Magdalena Miklasz-Turna, director of the play before the premiere. I am convinced that at the premiere at the Groteska Theater I had the best fun of all children (and adults)”.

Marta Gruszecka, Wyborcza.pl

Awards, distinctions:

Honorary distinction of the LAJK POLUNIMA Puppet Quality Certificate for 2025 for the spectacular momentum and finesse of animation.

Departures:

Performance presented at the Little Divine Comedy Festival, organized by Łaznia Nowa Theatre | 18.09.2026

The National Competition for the Exhibition of Polish Contemporary Art aims to reward the most interesting repertory research in Polish theatre, to support domestic dramaturgy in its stage productions, to popularize Polish contemporary drama and to broaden the field of theatre criticism thanks to the presence of members of the Artistic Commission at performances in theatre centres throughout the country and their review activities.

The substantive coordinator of the Competition is Dominik Gac, while the organizational and financial coordinator is Maria Stępkowska.

The competition is organized by the Ministry of Culture and National Heritage and the Zbigniew Raszewski Theatre Institute in Warsaw.