The three women, like in fairy tales, resemble many, but destiny set their course in bitter asymmetry.

First review of Parting Ways was published in an on-line magazine f21.hu.

Maciej Kuźmiński succeeded in creating a successful – inspiring and exciting – spectacle by combining Edward Stachura’s prose, music and dance.

Read the full review by Piotr Dobrowolski about Kuźmiński's Fabula Rasa performed by the Polish Dance Theatre

Against the background of patriotically associated music we see a set of motion clichés, which can constitute a satirical image of modern society (not only Polish)

An in-depth review of Fabula Rasa by Polish Dance Theatre has appeared on Poznań cultural website.

I have not encountered such an excellent choreography for a long time

under constant stress in merciless competition until the world collapses

Michael Scheiner writes about Ampelmenschen for the Mittelbayerishe Zeitung.
Read the whole review of Tanz.Fabrik!Sieben evening under this link

a very intellectual although by no means pretentious, but rather amusingly ironic.

Stefan Rimek reviews Ampelmenshen, along with the whole Tanz.Fabrik!Sieben in Donau Post
Read the whole review here

Monika Żmijewska reviews Plateau in one of the best known Polish newspapers - Gazeta Wyborcza.

It perfectly accommodated Polish phobias, ills, myths, touched taboos, reaching for unobvious means of expression.

Rozbark Theater may not blaze the way in contemporary dance, but in combination with the words – it makes an amazing impression.

A new review by Jerzy Doroszkiewicz appeared after the Białystok performance that sparked controversy at the Kaleidoscope Festival. Read the whole review in Polish

Comic scenes and monologues that bring to mind the humor of Monty Python’s movies, amuse and worry at the same time

Joanna Sarnecka reviews Plateau for the main on-line dance editorial taniecpolska.pl [eng dancepoland.pl]

Monika Witkowska from Poland danced to present the terrible political situation in her country, especially the attempt to tighten the abortion law, for which she received public applause.

Susanne Wolke in Donau Post

The solo piece "I fought Piranhas" by the Polish choreographer and company director Maciej Kuźmiński was read like a feminist statement, danced viciously and with defiant anger by Monika Witkowska.

Read whole review in German by Michael Scheiner from Mittelbayerishe Zeitung.

“[...] The penetrating music of Steve Reich (It's Gonna Rain, pt. 1) requires so much attention that it takes effort as a spectator to follow the dance. Nevertheless it succeeds, thanks to the striking choreography of Maciej Kuzminski.” – Jennifer Schreurs 

“[...] a beautiful scene at the end when all the lamps come down to spy on the dancers piece by piece” – Ruben Brugman 

“In It's Gonna Rain Kuźmiński gives Steve Reich's eponymous composition a funny twist to simple movements such as turning, stepping and walking.” – Annette Embrechts 

“I loved the pastiche of the Dance of the Little Swans from Swan Lake by three masked dancers.” – Michael Hasted 

“The man as a dancing animal in a world of rules of behavior and social demands can be seen in It's gonna rain by Maciej Kuzminski” – Dick van Teylingen 

“The work draws the viewer into it's inner world, subtlely regulating the changes of the mood, reflecting elusiveness of the past and subjectivity of memory" - Hanna Raszewska  

“Delving into this bizarre, non-linear world of Archipelago, a series of incredibly aesthetic, surrealistic images, one can experience the very nature of time” – Joanna Sarnecka 

Witkowska performs dynamic choreography with technical precision, energy and commitment. The heroine's internal opposition to the situation is palpable, and the will to fight has authenticity, which makes the whole convincing.

Read the in-depth whole review in Polish by Weronika Łucyk

definitely the most interesting is the statement by Monika Witkowska, addressing an important topic (calling it "feminist" would be another condemnation to the sex ghetto, a universal problem), verbal message enriching with a strong, expressive, consciously non-defective movement.

Mirosław Baran after Gdańsk Dance Festival.
review link [in Polish]

“The work doesn’t show off with learnedness but approaches the questions of identity and difference unforced through the means of dance” – Tenka Issakainen 

A review of After Before has been published by Svetlana Ulanovskaya after the IFMC festival, where the work has been awarded the I-st Prize.

“Metaphysical elements are expressed through a beautiful, aesthetic movement, making us reflect but without imposing anything. Room 40 definitely belonged to one of the strongest festival presentations - not only among the Polish productions.” – Weronika Łucyk 

“Each part of the diptych could function as an independent whole, being a bodily representation of philosophical considerations. Yet together they successfully form a coherent performance, where the three performers differ enough, to make the repetition intriguing.” – Hanna Raszewska 

"Room 40, however, seems not only a critique of patriarchy, but a metaphysical treatise on the lack of ethicality of art. [...] is also a beautiful story about life, which is permanently marked by the possibility of death" – Alicja Müller 

“stunning, extremely sensual choreography, the most impressive from Polish performances of the Gdańsk Dance Festival 2016” – Łukasz Rudziński 

“Room 40 is a unique performance: challenging our expectations, and perception, yet phenomenally beautiful” – Mirosław Baran 

“Dominique is a powerful socio-political statement, coherent on every level, […] delivered in a layered way, which allows it to be accessible to more than just dance audience.” – Hanna Raszewska 

“Dominique is an example of a excellently constructed critical choreography, which strength lies not in the poetics of shock or excess, but in a smart wit brilliantly performed by Dominik Więcek.” – Alicja Müller 

“A very interresting visual and aesthetic experience, provoking extreme feelings in the audience.” – Monika Żmijewska 

“One of the few solos, that touched on a serious subject – the fragility of identity, and played it with humor.” – Brigitte Jähnigen 

Room 40 “casts the audience a brutal challenge by the image of the body with its raw physicality and organicity” – Hanna Raszewska 

“The whole gives an excellent impression. [..] This work appears as more than just a solo made for a competition

“Certainly the tissue of this performance is beauty coupled with pain” – Barbara Siemaszko 

“In this creation every element – choreography, performance, sense of space and timing – reaches independantly a very high level” – Andrzej Z. Kowalczyk 

“A poetic and moving spectacle, enchanting with light direction and sensual choreography” – Anna Duda 

“The many foreign dance representatives and journalists, who attended the Polish Dance Platform in Lublin, were impressed by Maciej Kuźmiński’s choreography and the rawness of the performance itself.” – Joost Gouziers 

“But it’s the platform finale, Maciej Kuźmiński’s ‘Room 40’, that bridges beauty and concept perfectly, deservedly scooping the audience prize in the awards ceremony afterwards.” – Lucy Ribchester 

“One of the few solos, that touched on a serious subject – the fragility of identity, and played it with humour.” – Agnieszka Dybek 

“A review of the self-performed improvised solo by Rachel Johnson 

Both works reviewed by the local Lublin Courier newspaper's critic Andrzej Z. Kowalczyk