Opening night

The Main Stage
2 h

Regular Tickets:
25 – 60 zł

Reduced FareTickets:
20 – 45 zł




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Radosław Rychcik direction and adaptation
Anna Maria Karczmarska stage design and costumes
Jakub Lewandowski choreography
Michał Lis, Piotr Lis music and video
Radosław Rychcik, Maria Machowska light
Maria Machowska, Szymon Adamczyk lightning operators
Mikołaj Lichtański, Paweł Szymkowiak, Mirosław Witek sound operator
Marcin Müller subtitles operator
Martyna Łyko assistant director
Katarzyna Bednarz stage designer’s assistanat
Marcin Całka stage maneger
Monika Szomko prompter
Noel Clark author of English "Wedding" translation (Oberon Books)
Peadar de Burca language consultancy
Katarzyna Bednarz, Anna Maria Karczmarska, Piotr Lis photo shoot
Krzysztof Lisiak plays's photo shoot




Groom’s Family:

Host (Alex) Andrzej Dopierała
Groom (Rob) Marcin Rychcik 
Journalist (Stephen Nolan) Artur Święs / Marcin Szaforz
Nose (Eamonn) Grzegorz Przybył
Radczyni  (Barbara) Anna Kadulska
Zosia (Rose) Karina Grabowska
Haneczka (Emily, Groom’s Sister) Ewa Kutynia
Maryna (Tracey) Agnieszka Radzikowska / Aleksandra Fielek
Poet (Seamus Heaney) Mateusz Znaniecki

Bride’s Family:

Priest (Wayne) Antoni Gryzik
Host’s Wife (Pat, Bride’s Sister) Violetta Smolińska
Bride (Penny) Ewelina Żak
Marysia (Angela) Dorota Chaniecka
Father (Joe) Dariusz Chojnacki
Grandad (Rick) Adam Kopciuszewski
Jasiek  (Martin, Bride’s Brother) Bartłomiej Błaszczyński
Czepiec, Headman (Brendon) Zbigniew Wróbel
Klimina (Jean Mcconville) Anna Wesołowska
Kasia (Aislin) Natalia Jesionowska
Staszek (Padraig) Michał Piotrowski
Kasper (Ciarán) Michał Rolnicki
Kuba (Peadar) Marek Rachoń
"Jew" (Lenny Murphy) Wiesław Kupczak
Rachela (Jenny) Barbara Lubos


Isia (Holly, Host’s Daughter) Katarzyna Dudek
Wojtek (Brian, Mąż Marysi) Karol Gaj
Painter’s Ghost (Billy Elliot) Dominik Więcek / Kamil Joński
Stańczyk (Bobby Sands) Paweł Świerczek
Knight Jakub Podgórski
Wernyhora Michał Zdrzałek / Michał Kanawka
Spectre (William Moore) Arkadiusz Machel
Bridesmaid (Kyla) Justyna Masłowska
Barman (Ted) Piotr Nowak


Daniela Komędera, Justyna Pachla, Noemi Berenstein, Agata Nawrat, Monika Olszewska, Jakub Piwowarczyk



Protestants vs Catholics
Loyalists vs Republicans
British vs Irish

When in 1974 "The Troubles"  in Northern Ireland took its thousandth victim a group of newly-weds decided to establish Northern Ireland Mixed Marriages Associatation. Fourty years later religious segregation still encompasses 90% housing estates and 94% schools. Teachers’ colleges, sporting clubs, discos and pubs are still dived.
"Yes – says Roisin – love is love and if religion has any meaning it never should stand in loveres’ way to love".
Northern Ireland citizens look for alternative ways to reconcillation. In registry offices considerable rise of mixed marriages number is noted.
Can wedding change the nation?

Performance is bilingual (polish-english with subtitles).

Polecane Studentom Klasyka


(…) Katowice company joins Rychcik’s idea with verve, energy and belief. Attention especially attracts Artur Święs as Journalist or Zbigniew Wróbel as Czepiec/Headman. Convincing is also Anna Maria Karczmarska’s stage design and costumes – second rate bar, dodgy plebeian elegance, a bit shady customers. And dance and singing sequence can capture – for a while - audience’s attention. 

"Gazeta Wyborcza" Warszawa


One’s watches performance with pleasure and interest also because director can and isn’t afraid to surprise.


Performance directed by Rychcik in Śląski one watches with bated breath. Due to how it’s played, sung, edited (…) Produced with panache, costumed with gusto presentation has European festival potential (even programme was written with a view to English/Irish audience). (…) It was worth to stage "Wedding" if only to discover its potential of violence and brutality. Rebel, rebel! When all wedding guests in Irish pub, where the celebrations take place, suddenly start to sing Mighty Belfast with punk, anarchist fury, it sends shivers down one’s spine. Shivers is not an appropriate word. It’s rather grogginess, being overwhelmed by evil energy that radiates from these people, Catholics and Protestants, IRA followers and loyalist, joined for one night in the same room. (…) What a strong, expressive company has formed itself in Śląski! I liked Marcin Rychcik as Groom, fine were Anna Kadulska (Radczyni) and Ewa Kutynia (Haneczka) song about that how one should parade proudly in Belfast street remarkably sung Barbara Lubos (Rachel).

Łukasz Drewniak’s Kołonotatnik [spiral binder] on Teatralny.pl web site

Outstanding is Artur Święs in a part of Journalist – a beginning paparazzo always with a camera. Finely, her small but significant little part well played Barbara Lubos as chief of terrorist organization. Changed beyond recognition, able even to change his voice is Mariusz Znaniecki in a part of Seamus Heaney, snooty Poet. And Grzegorz Przybył impersonating paralyzed war veteran Eamonn. It turns out that every protagonist has here his overwritten part, his alter ego – in case he lived in Belfast.

"Gazeta Wyborcza" Katowice


Rychcik’s performance is imposing as a show. Contribute to that: Jakub Lewandowski’s spectacular choreography, Anna Maria Karczmarska’s thought-out in details costumes and stage design or lightning function as a protagonist of its own rights due to Maria Machowska’s and Szymon Adamczyk’s work. Radosław Rychcik is famous for pageantry of his shows, with "Wesele" is the same, so same old same old. Synthetic cherry on top is show finale. Entertaining, optimistic to the bone, indeed – compulsively euphoric. Actors after interring Capsheaf dance and clap their hands, sounds gospel alleluia, whisky goes from hand to hand.

portal "Dziennik Teatralny"


This staging had particular importance for Teatr Śląski. Katowice stage after "The Fifth Quarter of the Globe" did by its general manager, Robert Talarczyk, and "Morphine" in Ewelina Marciniak approach is on a roll. It stages much, diligently chooses program. "Wedding" could be for Śląski something of a consecration, final acknowledgement of an access to national top. Victorious came off actors. They have shown they are understanding one another, are working for the common good ensemble, they have vitality, strength and devotion in acting for the show. This "Wedding" is based on crowd scenes but anyway I remembered Artur Święs as Journalist, Barbara Lubos’ Rachel, Agnieszka Radzikowska’s Maryna, Grzegorz Przybył’s Nose. Others a get little blurred in multicolored crowd but a sense of strength of Katowice stage lasted.

"Dziennik. Gazeta Prawna"


This what seems to interest artists is rather citizens’ of Northern Ireland way of living when facing conflict and threat. The life suspended among war, lying in wait danger and everyday normality, comprising not only conversations about politics, but also mundane problems, moral debates and lovers’ dilemmas. Yes, a shadow of battle is still hanging above wedding guests – the most emphatically reminds about that Rachel/Jimmy who goes everywhere without her piece, disdains those who don’t fight enemy (she fires at dancing Billy Elliot) and her attitude expresses with bravura performed Polish version of Queen Esther Marrow’s Walk Tall.

Portal Teatralny.pl


Rychcik still was accompanied by one more desire, much more valuable. After triumphant last hit, that – I hope – was to make us sick and tired of common singing with a  chorus "To arms!" comes Jasiek bringing a poem. Nose was buried by women much earlier. And Poet is Seamus Heaney, so from the Irish part, still in Bride’s family. Jasiek quotes a part of a famous poem "Digging"; "Between my finger and my thumb/The squat pen rests/ I’ll dig with it". His voice narrowly pushes itself above other guests’ the din. Wedding can’t save the nation, and dance and drinking won’t redeem anybody – only sex and violence, marginally love and death. Maybe a poetry still? Devoid of beautiful metaphors and phantasmal symbol Wyspiański’s play talks simply about simple matters. Meanwhile from boggish reality, from worthy only music videos urges can pull us free only different language. Weighing our words we give community a chance. Maybe this finale is also a signal of Rychcik’s director’s art new opening.

portal "Dwutygodnik"


But why watching the performance I didn’t notice when the hours passed? Because it’s a bravura show and worth watching, not only due to cracking acting but also original Jakub Lewandowski’s choreography, costumes, lightning (Maria Machowska, Szymon Adamczyk) rock songs from which Rachel-Jenny’s (Barbara Lubos) a rebel with a gun, taking vengeance for her ills, sons’ death and drowning her pains in liquor, taking/singing with characteristic hoarseness and pugnacity that ring in my ears till now. Bravura is also the finale. Maybe it’s a sign of the times, that one takes main problem from a classic writer and creates new story?  Because that, embedded in 19th century reality is no more? Because though "one has to have his shoes on at wedding "almost no one takes these orders seriously and doesn’t listen to them. (… ) Its uncommon director’s and staging idea. Maybe it’s all right that we have the staging faithful to Wyspiański’s ideas and drama reality, refering reverently to the text and we have Radosław Rychcik’s "Wedding" who chooses from Wyspiański some parts and lays from them dialogues for other characters, other story. If there’s stable benchmark, this is an idea of reconciliation, necessity of looking in the same direction supported by faith in love and good, that must be, if evil is.

Marta Fox’ blog


A show in Theatre Śląski, though a bit too lengthy, due to great Michał and Piotr Lis’ music one watches with pleasure. Slightly beefed up dialogues still entertain with accuracy or social observations. Painter’s Phantom is replaced with Billy Elliot (Dominik Więcek), Wernychora – by Boy with French Horn (Michał Zdrzałek) playing in dark alley melancholy jazz. Piast is changed into King Arthur and Jakub Szela is William Moore.