Cantata for Four Wings – 1 Star


Cantata for Four Wings

Cockpit Theatre

Reviewed – 17th April 2018

“The script is definitely in need of work in order to keep the audience empathetic and interested”


Robert Brutter’s Cantata for Four Wings at the Cockpit Theatre is a religiously-loaded hour long show which combines suicide with angels, God and self-forgiveness. After a woman, played by Sylwia Kaczmarek, tries to commit suicide (in a rather over-dramatic and hard to believe sort of way), two angels, Judy Turan and Aaron Vodovoz, come to her rescue in an attempt to stop her from committing the sin, and therefore ‘ruining God’s Plan’. What follows is an hour of rather odd divine intervention, and a plot which is simplistic yet completely hard to follow.

The script has not translated from the original Polish especially well, and this ruins the moments of comedy and any moments of resonance become underwhelming. The ‘message’ that the audience are meant to take away is completely transparent, handed to them on a plate with no further contemplation necessary. This gives the play an almost condescending tone, as if it were intended for children who want to learn about religion and self-forgiveness.

The three person cast worked well together, but their acting was mostly over-dramatic and unrealistic. Whilst consideration has to be given that English might not be their first language, a lot of lines were spoken clumsily with emphasis in the wrong places. Director Lukasz Lewandowski also sometimes placed actors with their back to the audience as they spoke, making it hard to stay focussed on anything they were saying. Any sympathy for the suicidal woman is removed when her backstory and reasons for wanting to die are blurted out in the space of two minutes. The script is definitely in need of work in order to keep the audience empathetic and interested throughout.

Wojtek Kaj Ryalski’s set was simple, a mattress on the floor, a Christmas tree (which was never actually explained) and a wardrobe made of fabric, which doubled as a shadow screen in a particularly confusing part of the play, in which woman and angel swapped bodies. There was also somewhat random use of a smoke machine and a rather bright spotlight which shined awkwardly on some parts of the audience, making it hard to actually see what was going on onstage without squinting.

Whilst described as a ‘tragi-comic reflection’, Cantata for Four Wings is more of an hour of religious advertising that needs some work on maintaining a slower plot reveal and more subtlety in its message.


Reviewed by Charlotte Cox


Cantata for Four Wings

Cockpit Theatre



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