Metamorphosis

Imagine waking up one morning with your body looking different and strange. And you do feel strange. And you do speak strangely. Eventually, suddenly you are not understood at all. While looking at you, people around seem to be so puzzled that they themselves appear anomalous. Things that were normal just yesterday are suddenly distorted, dislocated, perhaps even monstrous. Has it always been like this and you just haven’t noticed it until now? Or did something truly peculiar happen overnight? And how can you get out of it? What sense could you make of the situation? And with whom could you share it? With your mother? With your father? With your sister?  After all, you are quite a weird bug! We invite you to visit an extraordinary, or perhaps on the contrary to quite an ordinary, room, where you can ask these questions alongside our protagonist. Just don’t expect any answers from him. He’s abnormal. 

“One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that in bed he had been changed into a monstrous verminous bug.“ One of the most famous opening lines in world literature introduces both Franz Kafka’s legendary novella, The Metamorphosis, and the Drak Theatre’s stage adaptation of this novella. But what does this line actually mean? Is it merely a product of the writer’s imagination? That writer who passed away a hundred year ago? Or is it an experience that could happen to anyone? Or does it have to happen to everyone? 

The performance, intended for audiences aged 13 and up, is part of the international European project 3Place: Performing arts as the Third Place for the young audience, in which Drak Theatre collaborates with colleagues from the German theatre Junges Ensemble Stuttgart and the Norwegian production organisation Norsk Scenekunstbruket. 

The music used in the performance is licensed through OSA.

Pomalu v revolver se ztrácí víra (Mišík Vladimír, Hrubý Jan, Gellner František)

The Devil’s Grandmother

Since the beginning of time, the world has been ruled by good and evil. Sometimes good has the upper hand and sometimes evil, depending on us – people.

This puppet show is based on The Devil and His Grandmother, a fairy tale by the Brothers Grimm. This Faustian tells the story of three soldiers who have deserted the army. To escape punishment, they sign a contract with the devil, who promises them seven years of carefree life full of pleasure.

And as we all know, time flies when you’re having fun.  Seven years go by, and before the young men know it, their souls are on their way to hell. The only way to escape the devil’s snares is to solve three riddles. But can they outwit the most cunning creature of all?

The production is inspired by classic fairy tale and is part of the Drak Theatre’s repertoire for children 3+.

The show was directed by Marek Bečka, a puppeteer and founding member of Buchty a Loutky, which proudly calls itself a postmodern puppet-punk ensemble.  The puppets and sets were designed by Radka Mizerová and the live music was composed by Marek Doubrava. The artistic team brings a story full of exaggeration and playful subversion, which playfully reveals the stupidity and narrow-mindedness of evil.

Our three heroes are put to the ultimate test in the devilish funfair run by Mr. Mephisto himself. Devils are cunning and can take on many different forms.  Fortunately,

there are grandmothers in the world, and even the devil has one. And when a grandmother gets involved in horned affairs, you can be sure that nothing will end the way hell plans.

The War of the Buttons

In the media:

“Šimon Spišák and Barbora Kamenická Pokorná came up with a combination of a highly entertaining, playful, and alienating spectacle with straightforwardly didactic moments. (…) The didacticism of The War of the Buttons is acknowledged but at the same time cleverly dosed not to become obnoxiously violent. This is because it refers with amused exaggeration to a theatrical situation just seen, which might otherwise have passed for a simple joke. It can also be seen more broadly: if I am correct, Drak is consistently involved in this type of production, and they seem to be well aware of what they are doing.”

Vladimír Mikulka, 13. 10. 2024, nadivadlo.blogspot.com

The War of the Worlds

In 1898 H.G. Wells wrote The War of the Worlds, a dramatic novel about a Martian invasion of our planet. A century later, the French magazine Le Monde listed it as one of the 100 most important books of the 20th century; it was the oldest work on the list. The novel has had a profound influence on the genre of science fiction, inspiring countless writers and engaging generations of readers around the world. The story has been adapted for film and television, most notably Steven Spielberg’s 2005 Hollywood blockbuster.

The most famous and controversial adaptation of the novel was made not for television or the screen, but for radio. The director, Orson Welles (whose name, coincidently, was almost the same as H.G. Wells), produced it for the American network CBS. He chose to broadcast it on October 30, 1938, the day of the fictional invasion in the book. He presented his play as a live news report (Welles himself played the role of a reporter). Many listeners believed that an alien invasion was actually taking place, causing panic throughout the United States.

The radio production brought Orson Welles worldwide fame as well problems with the authorities. It was the first time people realized the enormous power of mass media. The radio play showed how reality can be manipulated and how it can influence a large part of the population. This phenomenon is very familiar to us today, a hundred years later. And with the development of social media and artificial intelligence, society seems to be increasingly defenseless against it.

Join us as we explore a world where it is almost impossible to tell what is fiction and what is reality. A world where things may not be what they seem. Our world.

In the media:

“For as long as I can remember, Drak Theatre has been able to (metaphorically) squeeze the entire universe into one hour. They do this while maintaining a sense of playfulness and are masters of surprise.  Their latest show, which premiered last Saturday, is one of their best productions – a riveting, multi-layered version of The War of the Worlds.”

Petr Mareček, MF DNES, 13.05.2024

“What is appealing about the Drak production is that it addresses rather substantial issues, yet does not reproach nor preach, but rather nudges the audience to take the matter into their own hands.”

Vladimír Mikulka, 22.6.2024, nadivadlo.cz

Mont St Gumboot

Mont Silent Gumboot is the highest mountain range on Great Labuan Island. In its centre is Mount Wellington, an active volcano whose pipe keeps eructing inextinguishable imagination lava into the sky. The total of six locals living here (three of whom earn their livelihood by fishing for sounds and lights) keep busy by grazing their own ideas on the round surface the size of a child’s bedroom. If an idea escapes from the bucket or the net, there’s nothing one can do. A short period of Silence begins. Silence is beautiful. In Silence, a flight of stars and pineapples fall over the island and its inhabitants are anxious to see the little newcomers, who will join the bigger ones as they disembark right before Jinglepicking. All the inhabitants of Mont St Gumboot are friendly and loony; they don’t do double standards; they’re no cry wolves; and most importantly, they won’t judge you – or themselves.

Co-created by director Jiří Ondra, scenographer Veronika Svobodová, musician Marek Doubrava, and dramaturg Barbora Kamenická Pokorná, this is the first ever production of Drak Theatre that is aimed at children from six months of age and their grownups. The non-narrative production, loosely inspired by art and graphic poetry, absurdist, surrealist, Dadaist, art brut, nonsense and nursery rhymes, offers an opportunity for a first encounter with art and a unique opportunity to sensitively introduce babies to the world of theatrical imagination alongside their loved ones. The production follows the worldwide trend of Theatre for Early Years, which has been gaining popularity in the Czech Republic in recent years and is becoming a popular way for families to spend time together with their toddlers.

Awards:

Jiří Ondra received the Mayor’s Award of the Statutory City of Liberec for his direction of the production at the International Festival of Professional Puppet Theatres Mateřinka 2025.

Veronika Svobodová received an Award of the International Festival of Professional Puppet Theatres Mateřinka 2025 for the set design of the production.

Marek Doubrava received an Award of the International Festival of Professional Puppet Theatres Mateřinka 2025for the music composed for the production.

In the media:

„I have a message for anyone thinking of going to the theatre with children this young. I definitely recommend it, and you can start e.g. with a production of Mont St Gumboot. By choosing a theatrical form that does not underestimate the youngest audience, like the creators from Hradec, you can offer a theatrical experience not only to children. I believe that even for parents, linked with such young children every day, a theatre production can be a welcome disruption to their daily routine.”

Adéla Kalusová, It is never too early to go to the theatre, a Drak production shows, 12.3.2024, art.ceskatelevize.cz

The Seven Ravens

Once upon a time, a girl lived with her parents in a humble dwelling close to the castle in a small village. They gave her the name Bohdanka. During one of her many expeditions to the old attic she discovered seven boys’ shirts at the bottom of a dusty chest. And with them, the terrible truth that she decides to face head on, with her innate obstinacy. No sacrifice can be large enough to stop her. Perhaps only if love crossed her path?

The original production, based on the motifs of a classic fairy tale about looking for peace in an impetuous mind, about will power and about a restless soul, which can only find peace with a considerable amount of self-denial and with the courage to sacrifice herself for others, joins the ranks of Drak Theatre‘s productions that are built on well-known fairy tales. After the successful Sleeping Beauty, the theatre‘s director Jakub Vašíček returns to the adaptation of a well-known tale in a production meant for audiences aged six and up.

Awards and acknowledgements:

Edita Dohnálková Valášek was nominated for Thalia Award for Acting in the Puppet Theatre category. “In the role of Bohdanka, Edita Dohnálková Valášek uses many layers of her acting talent. At first, she is childishly naïve, incredibly unrestrained, and inquisitive, but especially in the second half of the show when she is not allowed to speak, she can vividly portray a whole range of emotions including her affection for the prince, as well as her fear, exhaustion, and pain.”

In the media:

“It is astonishing how Vašíček can easily switch between the humorous grotesque of life and a fairy-talish mysterious, mystical atmosphere. The music, the light design, the acting, the set design are equally captivating… such a masterful and balanced form in all components is absolutely unique in Czech theatre.”

Jitka Šotkovská, 2.7.2024, 73. Puppetry Chrudim – Newsletter No. 4.

The Registered Association of Czech and Slovak Puppeteers presents: Kašpárek and Zbojník

Did you know that Czechoslovak puppetry is on the UNESCO World Heritage List? It’s true! Thus, Czech and Slovak puppeteers, as well as their loyal audiences, have earned worldwide recognition, which culminated the long-standing efforts of generations of our predecessors.

Contemporary Czech and Slovak puppeteers have now gathered to join all their forces, all their skills and the best of their traditions to celebrate this important success together. And how else to celebrate the Czechoslovak puppet tradition than with the première of a brand new, yet completely traditional and mainly perfectly Czechoslovak puppet play, or piece? Thus, we searched the theatre storerooms, archives and museums on both sides of the Morava River, organised public collections and now we present the result of all this effort to you.

And now, ladies and gentlemen, the registered association of Czech and Slovak puppeteers presents a traditional Czechoslovak puppet play: Kašpárek and Zbojník! The 30th anniversary of the dissolution of Czechoslovakia offers a unique opportunity to theatrically reflect on an extraordinary phenomenon, which is the unique closeness of two nations, which joined their historical development for 75 years and which is probably unprecedented in the world. But how do we perceive it today? And how is it perceived in both countries by children, for whom coexistence in a joined country is now only a chapter in the history books? We want to examine these questions through a Czech/Slovak production that, on the layout of an original story, looks at the various forms of the current relationship between Czechs and Slovaks. Its political framework has disappeared, the joint television programs are also gone, so what remains to link them? Just a few YouTubers that are popular here and there? It seems that there is actually more…

Foto: Juraj Starovecký

In the media:

“The production confirms that well-crafted theatre can turn out well, even if it does not actually come up with anything ground-breaking or fundamental. (…) It offers such many tiny ideas and jokes, whether “kindly ironically national” or purely puppetry, that they reliably make for an honest hour of excellent Czechoslovak entertainment.” Vladimír Mikulka, 26.6.2023, nadivadlo.blogspot.com “The Bratislava Puppet Theatre and the Drak Theatre have realized a joint project that entails a lot of demanding production work. They responded to the topic with sincerity, humour and opinion. And this is more beneficial and much more stimulating for thinking about our identity than official gala programmes.” Lenka Dzadíková, LOUTKÁŘ 1-2023

“The supremely self-ironic production is not at all outdated, but on the contrary boldly layers the still resonant Czech-Slovak clichés, going beyond the edge of correctness with courage. For me, the puppet highlight of the festival so far.” Kateřina Kykalová, 29 June 2023, divadelni-noviny.cz, Ritual Regions (No. 5)

What a challangel!

Imagine that one fine day an angel suddenly falls into your home. Right out of the blue. Just a moment ago he was flying somewhere above the clouds and suddenly he’s here. He doesn’t understand our world, he doesn’t know its rules, and he would like to return to where he came from. But how can he? How can we help him? Perhaps mother could tell us, but she somehow thinks we made the whole story up. But the angel is here. Everyone can see him, everyone can hear him, no one can overlook him. Or can they?  

A new production bordering on poetic physical theatre and clownish slapstick by the established creative trio of Riedlbauchová – Stránská – Čtvrtník, which has already prepared a successful and award-winning production Bedtime! for Drak Theatre. In their new production, apart from Petra Cicáková and Luděk Smadiš, who have already abundantly displayed their extraordinary art of movement and sense for gags in Bedtime!, you will get to see the two youngest members of the Drak ensemble, Edita Dohnálková Valášek and Šimon Dohnálek.

In the media:

Kateřina Kykalová, 25 June 2023, divadelni-noviny.cz, Ritual Regions (No. 2)

Huckleberry Finn

Huckleberry Finn is a young boy who stands out of the crowds. It could be said that he has a problem adapting to his surroundings, but that wouldn’t quite be true. That’s because he doesn’t even try to. He takes his own path. Sometimes he strays from it, sometimes he gets burnt, but he rarely regrets anything. One day, through a combination of various circumstances, he joins his fate with that of a fugitive slave Jim, and this unlikely duo embarks on trip on a raft together down the Mississippi. A ride that is one great depiction of the flight to freedom. But, as it turns out, becoming free does not just mean getting rid of injustice and oppression, but perhaps also of your own prejudices.

An original production based on the motifs of the famous novel by Mark Twain, which is considered one of the founding titles of the tradition of the great American novel. The production is thematically linked to two previous titles from the same production team, White Fang and The Journey, and it forms a complete trilogy of adventure stories about freedom inspired by great works of American literature.

In the media:

“Dominik Linka excels in acting. He was given well-deserved space in the production and his character of Huckleberry Finn is dramaturgically well devised and directed. The spectator can believe his childish naivety and obedience, anger, unstoppable aggression and fear, which is at times quite concrete, at other times only vaguely suspected, manifesting even romantic reverie or inner confusion. (…) The actor’s deployment during the performance directly corresponds with the commitment, passion and anguish that the main character goes through in his story.” “Theatrically, and above all socially, it is valuable that Tomáš Jarkovský and Jakub Vašíček, together with their colleagues, are able to reach young audiences to show them that individual inner chaos and struggle is not unique in human society. It is directly related to the possibility of choice; hence it is a part of free life and gives people the opportunity to develop.” Zuzana Sikačová, LOUTKÁŘ 1-2023

Little Red Riding Hood

Once upon a time there was a little girl who wore a red bonnet on her head, and so everybody called her Little Red Riding Hood. One fine day she packed a basket full to bursting. Clothing, something to eat, a few trifles as keepsakes and her own story. Then she headed out on a trip to a completely foreign forest.

A Czech/Ukrainian production of the classic fairy tale than is well known by children and adults in both countries. There are two actors. Marina lives in Kyiv, Petr in Divec. Now they have come together in Hradec (which is not even close to being halfway) in order to tell the same story together. But Marina speaks Ukrainian and Petr Czech. And each knows that story a bit differently. It seems that if there is going to be a happy ending, they will have to learn how to make themselves understood.