is an immersive one-woman comedy show created and performed by Margot Przymierska, in collaboration with director & co-deviser Patrizia Paolini, produced by Martha Rumney & Kane Moore. The show was developed with support from the Arts Council England, Polish Cultural Institute and University College London. This blog documents the development of Wesele / Wedding & touring information.
Over 500 people attended across all of 11 shows and additional 60 people participated in special events - Q&As and workshops. The make of the audience was very diverse in terms of gender, age and nationality with 60% being Polish and other non-UK born nationals.
~4.65 million people engaged with the show via online content, broadcast and in writing.
Here’s a video with audience’s feedback
Here’s a short video trailer
For more video content visit Vimeo.com/przymierska
Selected feedback:
“Fun, immersive and thought provoking”
“Definitely recommend it! Funny, entertaining and relatable to current politics”
“Great opportunity to experience Polish tradition. Great fun”
“A unique experience of Polish tradition and culture framed by Brexit”
“Kilka dni temu pisaliśmy o nadchodzącym Weselu i byliśmy na nim. 😀 Bawiliśmy się znakomicie spektakl komediowy z udziałem publiczności stworzony przez Margot Przymierska autorka, reżyserka i gwiazda wieczoru zaskakiwała, bawiła i częstowała 😉🥃 jak na prawdziwym polskim weselu - musicie doświadczyć takiego wesela” - Przemek, Facebook
“Saw a fantastic fun and entertaining immersive play last night at the @streathamspace about a British & Polish wedding set against the backdrop of Brexit. Great stuff!” - Roxane, Twitter
“It’s a great opportunity to experience Polish culture in a fun way! Brilliant and awkwardly funny!” - Chris, feedback form
“Brawo Margot! 🙂 Interesująco, przewrotnie, równo i do przodu z przerwa na reklamę 😂Elegancko sie bawiliśmy, dzięx wielki! 😙” - Tom Nar Gal, Facebook
“Margot thank you for today show! It was amazing experience. I really enjoyed it !!! Funny light but also touching story about relationship in general.super!!! bravo!!!” - Justyna, Facebook
“A unique way of experiencing Polish tradition framed by Brexit” - Simon, feedback form
“🥳The fact that you have remembered so many details and squeezed them all in here speaks very highly of you Margot Przymierska👌🏻🤣 the #weseleshow was absolutely amazing - one of the best highlights of 2019!!!!
Margot Przymierska - you are extremely talented!!!! Martha and Partizia - beautiful inside and out🤩🤩🤩 hope you have all managed to get that well deserved sleep!!! Wishing you all the very best👰🏼♥️🥰” - Kings, Facebook
STREATHAM SPACE PROJECT, STREATHAM FESTIVAL 16-17 Oct 2019
There’s a large Polish community in Streatham and I was very glad to have experimented with an entirely Polish version of Wesele/ Wedding. Among the audience: an enthusiastic winner of the Radio PRL free tickets competition with his wife, a 92-year old Ms Walentyna who reveals to be friends with Zamenhof’s daughter and a 30-something woman who came up to me during the show with a ‘friendly warning’...
As the guests were helping themselves and other to vodka shots, the said woman came to the table to ‘have a word’ with her boyfriend whom I earlier picked to be participate. Turns out that an on stage kiss was a step too far and perceived as a jeopardy of their relationship. A few heckling instance later and into the infamous balloon game the woman was joining in and it all seemed ok again (we even hugged at the end) but it was an important lesson for me in terms of :
- gender stereotypes are as real as ever - even in a liberal London
- diversity of audience frequenting Wesele/ Wedding means those from outside of the art world will have a very different perspective on what’s on stage than the chin-strokes theatre crowd (and that’s what’s it all about!)
The English version of the show the next evening was sold out and great in atmosphere. By now I got better at preserving my energy (as a result of many conversations with Patrizia) and I allow myself more time to watch the audience who often at the beginning is very quiet. I used to be worried about it but now I know they are just paying attention. The trick is also to have an even mix of Poles and Brits at the top table which sometimes tricky with the quick pace of the show at the beginning. But when it works - it really works! And it did that night!
“[Wesele/ Wedding] tackles a potentially tricky subject in an irreverent, mischievous way that's live, has to happen in a theatre and brings people together to share the same space and start a conversation in a highly entertaining way”
- Andy McKeane, Creative Director, Streatham Space Project
photo. by Paweł Owerczuk at Polish Radio London. By chance my Białystok friends were in town and we made a joint appearance at the studio, where they played roles of the Disco Polo impresario and the Groom from one of the earliest shows. This had whetted my appetite for making a sitcom even more...
EDINBURGH FESTIVAL FRINGE x HEROES OF FRINGE - AUG 2019
The decision about taking the show to Edinburgh Festival Fringe this year came after my conversation with was audiences, partner venues and the creative team. The feedback I got was that the piece is thematically timely and its form - well suited to the Fringe format.
As I’ve never taken my own work to the Fringe I know it would be great learning opportunity and I was prepared to test it by doing two shows as part of excellent ‘fringe-fest’ comedy promotors - Heroes Of Fringe. By being part of their programme wa very valuable as I was able to engage with new stand-up loving audience. I made connections with the Polish community in Edinburgh too with support from the most popular Polish news portals in Scotland Emito.pl and Radio Szkocja. Wesele was covered & Reviewed by Tydzień Polski (print and online) and Cooltura. The show’s audience was 50% East European / Polish.
Wesele sold out the first night with almost 100 people in Heroes@Boteco while the second show had a smaller and more focused afternoon audience. With an almost 50/50 British / East European audience split (quite common for the show) I was in for a very different run. The dynamic between chin-strokey EdFringe theatre buffs devoid of energy after seeing 100s of shows that one day alone and the East Europeans who were up for a night out was particular. With two opposing energy levels and attitudes towards the Wesele experience (not a theatre play one can watch from a comfort of a far away seat) highlighted the real division: of class, place in society, languages, high/ low art and expectations of what theatre should be and do. Though a difficult gig - I learnt an awful deal from it, including the importance of making work that demands people on either side of the division to interact in one space.
As a result of performing at the Fringe I was able to see many inspiring international shows to help me locate Wesele in a wider context. I also reached out to a large number of industry and media professional and grew my networks e.g.: I was able to get mentoring from David Woods from Ridiculusmus (winners of The Harold Archangel Award 2019) and connect with Red Ladder Theatre Company with whom I’m discussing show a tour of non-theatre venues in Yorkshire.
In Wesele/ Wedding I told the story of Esperanto - the international language and movement, and its founder - Ludwik Zamenhof who was born in my hometown of Białystok, Poland. As part of my research I began learning Esperanto with Nord Londona Esperanto Grupo and connected with two very important Esperanto scholars and teachers - Anna Lowenstein and Renato Corsetti who inspired me to think about the language as a means of communication between people of different background, the role English language plays in shaping the global narratives, and what it takes for European community to come together.
I was very pleased to have engaged the Esperanto community who shared their positive and enthusiastic feedback. The story of Esperanto and Zamenhof or Białystok is not widely known and many audience members said they were grateful to have learnt something new.
Anna Lowenstein, teacher, writer, academic
“I learnt it over 50 years ago, work with it regularly and teach it, met my Italian husband at an Esperanto congress, and always speak Esperanto with him at home. I have written two novels in Esperanto as well as many shorter pieces, and now edit a news site for learners.
I'm very glad that Zamenhof's story appears in Wesele. It's not well enough known in the UK, and this is a way of bringing it to a wider audience.
Zamenhof's aim in creating the language was to bring together people of different nationalities and cultures so that they could understand each other more easily. Now that the UK is on the point of leaving the EU, this is the right moment for reminding people of his message of peace, understanding, and international cooperation.
Esperanto speakers and learners are always interested in any work of art which features Esperanto. Many members of the London Esperanto group went to see the play when it first appeared in London. In the meantime we have a number of new learners who will probably go to see the play now that it has come back to London. Groups outside London would certainly be interested too, and might also help to arrange venues locally for its performance”
Tim Owen, Director of the Esperanto Association of Britain, editor of the magazine La Brita Esperantisto, and co-author of the textbook in the Teach Yourself range Complete Esperanto.
“I was delighted to see our niche area represented so well. It was accurate, it didn't come across as forced or invasive, and it was educational, since it was clear to me that the majority of the audience had heard of neither Esperanto nor its creator.
I'm an Esperanto nerd, so the answer should be no. But it has: it gave me cause to see a parallel to today. Esperanto was a proposal to a question born of a sense of a shrinking world at the time. This was the age of steamships, telegraphy, and the World Fair in Paris, and the question of what language to use in an international context was a pressing one of the time. It experienced growth, with nearly 4,000 people signed up for its 10 international congress in 1914. And then war broke out, destroying everything. Doesn't that sound like today with the chaos unleashed in what was a stable country?
Those [Esperanto community members] who have [seen Wesele] all loved it, though! Let's keep our fingers crossed that Wesele leads to something in the Esperanto community: the world congress will be in Northern Ireland in 2021. Wouldn't it be nice to have some Esperanto theatre there?”
VICE “There Are a Million Poles in the UK – But None On British TV”, Sep 2019 https://www.vice.com/en_uk/article/wjwz8x/poles-on-british-tv-soaps?utm_source=vicefbuk&fbclid=IwAR0vhLsO2KHR4omjy1mMUNW7-Px53lb2-Ddd8ZJArfKXUa7A_dSq9NNsHZs
A Younger Theatre - review https://www.ayoungertheatre.com/review-wesele-wedding-applecart-arts/
Tydzień Polski - review http://www.tydzien.co.uk/artykuly/2019/09/09/ostatnie-takie-wesele/?fbclid=IwAR2cO_nkzEhcQXFY7I7vs2DMeDD4R4plBFIFfDPp-_zh0JOaDZ2ybZQy2w4
Tydzien Polski - article http://www.tydzien.co.uk/artykuly/2019/08/09/wesele-w-czasach-brexitu/
VOILA! EUROPE FESTIVAL 2018 at APPLECART ARTS (Newham, London)
The biggest and most ambitious of my projects that gave me sleepless nights (in a good and terrifying way) was finally ready to drop and I was beside myself from excitement. And so, the Wesele Family was born...
Wesele/ Wedding premiered in November 2018 at the Voila! Europe Festival after residencies at the Applecart Arts, Chats Palace and Rich Mix.
During this time I was able to develop the script and structure of the piece by working closely with a fabulous director and co-deviser Patrizia Paolini. I also created music with Jasmine Khalia and lighting design with Roberto Ventruti. A real godsend was the emerging producer Martha Rumney who kept the project on track and the marketing team made of Ella Marak-Freeman and Anna Dobiecka, who helped me develop promotional strategy and marketing & social media content in English and Polish.
In addition to 3 performances of Wesele / Wedding at Voila! we hosted a Q&A session with the audience facilitated by Mikey Weinkove (The People Speak). Ariel Bonkorpa (Moody) - President of JEB (Young British Esperantists) delivered an ‘Introduction to Esperanto’ workshop at Theatre Deli.
Sharlit Deyzac and Amy Claire Tasker Festival Directors:
“We had already programmed Margot and her collaborators at Voila the year before, with another highly original project. When we read the pitch for this show, we laughed out loud and couldn't wait to see it live. The show is so culturally specific, yet completely relevant to others, and Margot's unique personality, strong writing, and reputable collaborators made us confident it would be a high-quality show like nothing else on the programme. We couldn't have been prouder to see the premiere after her residency at the festival last year. We find Margot's work very fresh, original, daring and kooky! She's also great at promoting herself and creating lots of fun and personal content in the lead up to her shows which really gets the audience on board!”
Ariel Bonkorpa on the Esperanto workshop:
“I've always struggled with how to present Esperanto to people who know little about it, and by collaborating on the play and giving a workshop in the Voilà! Theatre Festival, I could clearly see how to push forward in this area”
During Wesele/ Wedding I engaged with 26 artists and creatives at various stages of the project. For many of them the project was an opportunity to develop within their own practise or cross over to new roles. It was certainly true for me - I created new character driven video content, trailers, poster and flyer design...
Patrizia Paolini (director, deviser): “[The project] facilitated accessing my professional and creative knowledge and experience with more awareness”
Martha Rumney (producer: “I have learned a ridiculous amount about myself but also the world of producing a small scale tour [...] I really respect Margot for taking a chance on someone with limited experience as this has been so enriching for me. I have gained so many skills”
Roberto Ventruti (lighting designer): “Wesele has been a challenge since its concept [but] I found it so stimulating for my imagination, which led to revealing uncountable artistic perspectives in a one-woman show”
Jasmine Khalia (musician): “It has been inspiring and made me see performance art in a different way! Defo got me thinking about artistic possibilities and using uniques spaces to perform in”
Mikey Weinkove (set designer): “[Being involved in the project] reminded me that I have a much greater range of possible creative inputs into it than what I normally do. And that I should be pushing my creative practice more in different directions which is fun and rewarding”
Ariel Bonkorpa (Esperanto mentor): “I loved the lack of boundaries to creative involvement. Margot had many of her friends help out with the show, take part, and spread the word. [Being involved in the project] give me permission to take myself less seriously when it comes to art! To worry less about the production line that you're supposed to follow to be a "successful" artist... and just to create art while creating community”
Ella Marak-Freeman (Marketing Assistant): “Working on Wesele/Wedding allowed me be part of the development of a show from the very beginning, and plan a suitable detailed marketing strategy for it. It inspired me to explore alternative ways of reaching audiences and marketing a show”
Anna Drobiecka (Polish PR Assistant): “It was a very valuable experience. I learned to promote arts projects and expanded my professional networks”
Kamila Rymajdo (Journalist): “Being involved with Wesele/Wedding has made me more aware of the nuances of representation both in the arts and within the wider British society. It made me think about the differences between the waves of migration, and to what degree the different groups have assimilated, as well as their relationships with one another, and their relation to Poland. I found the lack of understanding about the Polish diaspora on the part of my editors and Britons I interviewed for my piece to be disappointing”
Dr Urszula Chowaniec (academic mentor): ‘[Being involved in the project] changed my way of thinking about diaspora: talking about it. The most important aspects, or one of it is the opening of the possibility to close or at least to narrow the traditional division between “working class” migration and the intellectual migration. It is a brave, queer, thought-provoking performance – drama, in which the story-telling goes altogether with participating and experiencing the moment: everyone is an emigrant in the Wedding by Przymierska. This is extraordinarily possibility and experience’
Penny Skerrett (set/ costume assistant, artistic mentor): ‘[The project] has drawn my attention to how Polish and Eastern European people in general are portrayed in British culture. This project presented a far more complex and in depth approach to issues of immigration and to making a new life and home in the UK, it felt uplifting particularly at this time of political and cultural devision. The show is directed towards drawing people and cultures together and this was done by both personal accounts, humour and information, all of which deepened my understanding and empathy. It has been a very interesting and informative experience for me’
Simon O’Brien (DJ), Daniel Enji (Żubr t-shirt designer), Anthony Coleman (photographer), David Woods (Ridiculusmus, mentor), Piotr Charkiewicz (photographer), Kasia Zapala (photographer, videographer), Pawel Skawiński (DJ), Fabio Vasquez-Huigeras (photographer, videographer), Rick Sleiman (visual artist, video editor), Adam Hypki (director), Polscy Bracia - Cliff & Arek (music band from Margate), Thomas Ingram-Palomino (photographer, documentary-maker), Kane Moore (evaluator, mentor).
photos by Piotr Charkiewicz, Kasia Zapala and Fabio Vasquez-Huigeras
