Helver Night is one of the best Polish dramas created in the last quarter of a century. Its author Ingmar Villqist is a playwright, art historian, theater director, publicist. The Scandinavian pseudonym of the artist is not accidental. His work has similarities with the psychological realism of Ibsen or Bergman, although the influence of the 20th century German literature and contemporary American drama can be found. Villqist seeks the essence of humanity, first to show the otherness of his characters. He also writes about fear, hatred, love, loneliness and suffering. Helver Night is an extremely relevant text that describes mechanisms that turn on in the face of threat. Such a night can happen anywhere, because almost everywhere we encounter some indoctrination - political, religious or racial. Although Villqist's drama was created twenty years ago, it perfectly reflects the phenomena and fears in the modern world.
Helver Night tells about two people - a woman and a man who longs for intimacy, understanding, mutual love, and at the same time causes pain to each other. Agnieszka Rawd plays the role of a woman and Edward Kiejzikas is played by her husband.
Helver has just returned home. He participated in the demonstrations and riots against "sneaky". What those "sneakers" are unknown. It is also unknown what force (political, military or other) will torture them and will destroy them. However, it is clear to everyone that it is a powerful force that will make either give up or die. Helver was obviously surrendered. He is fascinated by the militaristic exercise and the military attributes he is happy to use. He accepts his "goddesses" beastly without thinking. Scared of his stories, Karla tries to distract Helver's feverish attention in vain. Helver does not want to eat, does not want to rest. Suddenly, he begins to teach Karl military beats that grow into cruelty. Karla is horrified to realize that he is doing so for his own sake. He had heard terrible opinions about Karl. Was it a "sneak" too? This can not be true. The "sneaky" can't creep and march, but Karla can. Well, not quite yet, but Helver believes she will learn quickly. After a short attack, Helver calms down. Then Karla attacks unexpectedly. The pretext is that Helver supposedly threw Karl's old photos. The woman begins to hit Helver with fists, shout and inspire him.
This intimate drama is an exciting and, unfortunately very relevant story of the desire for love and security, in times of totalitarianism, that the boundary between normality and madness, tenderness and cruelty can be surprisingly thin, as in the hearts of people.
In this performance, the family tragedy subtly intertwines with the analysis of the person who experiences the pressure of the totalitarian social system. Well written roles give a lot of space to the actors to manifest. They create completely reliable but psychologically complex characters. Ascetic scenography additionally emphasizes the drama they experience. In the foreground, a woman who has to take the hardest burden on her weak shoulders and make a tragic choice in the finals: between evil and evil.
Helver Night encourages reflection on topical and at the same time fundamental issues of humanity.
