Never Ending Sorry

Pawłowski, Łukasz
Tytuł oryginalny: 
Never Ending Sorry
Obsada kobiety: 
Obsada mężczyźni: 
Su, Ali, Meg (sisters), Andrzej (Su’s lover), Piotr (Meg’s husband), Dawidek (son of Ala and Piotr), Mum, Dad
Szczegóły obsady: 
+ one child

A dense and gloomy family drama at the centre of which is the mother. Her husband, their three daughters and lovers and husbands are people caught up in something strange that holds this family together: betrayals, lies, denials and a tree that grows in the living room. In this drama, the author sketches various psychological portraits and complicated arrangements. The father, who for years "fails to notice" his wife's infidelity and naively confuses love with a morbid addiction, and after her death decides not to get out of bed, obsessively waiting for his own death. A younger sister, Su, aggressive and addicted to sex, who as a child was a silent observer of her mother's summer indiscretions; Su's lover, addicted to her and slowly getting absorbed into the family; Meg and Piotr's marriage, based on silence and deception. Mutual hatred and desperate attempts at forgiveness. Dissolving relationships and a crippling loneliness. A sense of meaningless existence expressed in suggestive language:

" Piotr - ... nothing that I did on the way made any sense, either you or the baby... all this cheating, shit, shit...
Meg - Piotr, what's going on?
Piotr - Leave me alone! Leave me alone! I've told you this so many times...
every day... every glance... every sip of coffee in the morning... (...) every restrained scream, every insult not thrown, mug, plate, phone, iron...
Meg - Piotr, calm down.
Piotr - every drunken Saturday... every slut fucked in the car... sister...
Meg - Piotr, calm down...
Piotr - but I don't want to calm down... I've been calm too long... I don't want your forgiveness..."

The open construction of this drama allows for different stories to be composed - the author points out that the sequence of scenes can be freely chosen. And just as the editing in the film can completely change its tone, so the director has the opportunity to put different accents and create different chronologies of events. The stuffy atmosphere marked by family dramas will be the axis of the plot anyway. Pawłowski's play resembles Bergman's famous Whispers and Cries and undoubtedly gives the actors and the director great opportunities for creative explorations.