Category Archives: Season

Ireneusz Iredynski – Rebel with a Cause by Eliza Anna Falk

   The biography of Ireneusz Iredynski, one of Poland's 'angry young men', reads like an adventure novel. He was born in 1939 at the onset of the WWII, which took most of his family, robbed him of childhood and forced him into premature adulthood. His frustration and rebellious nature manifested early, when in 1953 at the age of 14 he left his relatives' care and moved to Cracow to seek a life as a writer. Two years later he made his literary debut and joined the young writers section of Poland's Literary Association. In 1958 he moved to Warsaw, continued writing, and soon embarked on a successful and productive literary career earning himself a well deserved recognition and acclaim both in Poland and overseas. His extensive body of works includes stage and radio plays, short stories, novels, film scripts, poems and song lyrics (1).
   The writer's reputation as a talented and fertile author was not the only factor contributing to his fame. Iredynski's rebellious, non-conformist streak and his anti-communist views soon found their way into his writing, attracting the attention of the authorities. It later transpired that he had been under observation since 1958 when one of his poems appeared in   "Culture", a Paris magazine blacklisted in Poland. Unable to "pin him down" for any explicit anti-communist expressions, the authorities took advantage of his 'bon vivant' lifestyle and love of female company to charge him with rape and send him to prison (2). Three years spent in a penitentiary left a life-changing impression on 27 year old Iredynski and further reinforced his trademark nihilistic and cynical outlook as well as dominant themes of his works. He once said that prison changed him forever, that everything inside him "got rearranged, broken up"(3).
   Justly compared to Dostoyevsky, Iredynski was not only preoccupied with pathological and irrational aspects of human nature but also able to cleverly analyze and justify deviant behavior. His literary 'microscope' examined complex human relations in the context of universal themes of good and evil, freedom and coercion, love and sex, power, violence, obsession, manipulation and deceit. He had said of his writing: "I write about an individual and violence", "My protagonists personify anxiety", "I am interested in extremes"(4). How right he was in saying that his literary characters were a projection of his imagination, dreams, anxieties, knowledge, viewpoint and subconscious. Himself a flawed human, alienated and disappointed, he kept finding himself in constant struggles with his own demons, addictions and obsessions, finding solace in a fast paced and self-destructive lifestyle, which led to his untimely death at the age of 46.
   Third Breast is a classic example of one of Iredynski's favorite scenarios in which human weaknesses, insecurities and obsessions paired up with power, lead to manipulation, cruelty and violence. The play invites us into a closed, almost cult like community of nature lovers, whose charismatic spiritual leader, Ewa, unexpectedly grows a third breast and unable to have it removed, becomes depressed and unsure of her future leadership ability. After failed suicide attempt she manipulates her closest allies, a commune founder Thomas and her new lover George, into killing two community members who know her secret and as such pose a threat to her leadership status. George gains Ewa's total trust by playing a key role in the “accidental” killings, and as her favorite and only lover, begins to feel his growing power. What follows makes the plot even more unexpected and shocking…

US Premiere of

The Third Breast

Translated by Sylvia Daneel

Directed by Hanna Bondarewska

Preview July 10, 2013 at 8pm

Opening July 11, 2013 at 8 pm

Run: Th-Sundays until August 4, 2013

Mead Theater Lab at FLASHPOINT

916 G Street, NW, Washington DC,2 0001


   1. Ireneusz Iredynski. Web. 19 March 2013
2.    Siedlecka, Joanna. Iredynski Zbaletowany. Rzeczpospolita 19
Mar 2005. Web. 19 Mar 2013.  
3.    Poland in the Classroom. Ireneusz Iredynski. Polish Academic Information Centre. University of Buffalo. Web 19 March 2013.
   4. Ireneusz Iredynski. Web. 19 March 2013.

Happy World Theater Day!


In a Celebration of the WorldTheater Day, Ambassador Theater presents special

Ambassador of International Theater's

2013 Award


Mr. Boguslaw Jerke



Mrs. Barbara Papantoniou


for their support and devotion to the development and programming of the Ambassador Theater  2012/2013 Season



Literary Cafe – March 7, 2013

Reserve your seat at the Cafe now | Meet the Artists | Venue Info

Ambassador Theater Invites you to

in Celebration of the International Women's Day

In the Realm of Women

An elegant evening of Poetry, Music, and Wine featuring the works of famous Austrian poets such as Ingeborg Bachmann, Rainer Maria Rilke, and Nobel Prize Winner, Elfriede Jelinek, and others.

With Special Guest, Virtuoso Pianist,

Maestro Carlos Cesar Rodriguez

Thursday, March 7, 2013 at 7PM

Embassy of Austria
3524 International Ct NW
Washington DC 20008

Sara Barker, Hanna Bondarewska, Barbara Papendorp,
Karin Rosnizeck, Ivan Zizek
Anna Lathrop, Dance, Movement
Elisabeth Myers, Soprano
Scott Sedar, Baritone

Enjoy delicious hors d'oeuvres by the courtesy of Kafe Leopold and Austrian wine provided by the Embassy of Austria

Please Reserve your tickets on Line at ATICC's Box Office

All the proceeds from the tickets cover the cost of the event and support Ambassador Theater’s productions. If you cannot join us for this celebration, please consider supporting Ambassador Theater’s programs. 

You can donate online through JUSTGIVE.ORG Thank you for your generosity.

PRESS luminaries, as well as you MILLIONS of spectators and enthusiasts of SMALL THEATER:

Having spared no effort or cost, we present the official start of the year 2013 and a new era in the history of our theater marked with a golden stain on the sheet of History!

Our dear ecstatic audience, you shall see in a moment (be patient) the first in a series of new and stunning performances. Ambassador Theater proudly presents the smallest theater troupe in the world,

The Little Theatre of the Green Goose! 

Conceived by the international Polish tiny playwright and jokester, Konstanty Ildefons Galczynski

with consultation and translation by the famous Professor Daniel Gerould

Flashpoint, 916 G Street, NW, Washington DC 20001

January 31 and February 1, 2013 at 8 pm

Do not forget to pay for your ticket and enjoy a hilariously funny night of “Monty Python’s style” skits, interludes and the tiniest plays in the world presented by the inimitable Little Theater of the Green Goose!

Most noble journalist and media, please don’t forget to ring us to announce your notable presence! Send your credentials at

We welcome you with fanfares!

Most Prescious Public, Reserve your tickets now online

Ambassador Theater proudly presents “The Little Theatre of the Green Goose”

“The smallest theatre in the world” by one of Poland’s most beloved and popular poets, Konstanty Ildefons GaÅ‚czyÅ„ski

Translated by Daniel Gerould

DATES: Thursday, January 31, 2013 at 8 pm

                 Friday, February 1, 2013 at 8 pm

                 Mead Theater Lab at FLASHPOINT, 916 G Street, NW, Washington DC




Cast and Crew


The Little Theatre of the Green Goose

Introduction to The Little Theatre of the Green Goose

By Daniel Gerould

Konstanty Ildefons GaÅ‚czyÅ„ski (1905-1953), one of Poland’s most beloved and popular poets, began his career in the mid-1920s writing humorous verse and fantastic stories. Mobilized as a soldier at the outbreak of World War II, he spent the period 1939 to 1945 in a German prisoner-of-war camp. After a year of wandering in Western Europe, GaÅ‚czyÅ„ski returned home to resume his literary career. He began work as a playwright, inventing an imaginary theatre and troupe of performers (animal and human) and contributing a new installment of The Little Theatre of the Green Goose each week to Przekrój (“Profile”), the Crakow literary magazine for which he wrote several hundreds of these short plays in the next four years.

Originally intended for reading only,  The Green Goose went unperformed in GaÅ‚czyÅ„ski’s lifetime. “The smallest theatre in the world” was by design impossible to stage, or so it seemed according to all known rules of drama. Certainly, by the laws of theatre that had come to prevail in Poland after 1949 – those of socialist realism dictated from the Soviet Union - The Little Theatre of the Green Goose was unacceptable as long as the Stalinists reigned. By 1950 GaÅ‚czyÅ„ski  had been forced to curb his high spirits and eventually “close” his theatre.

The Little Theatre of the Green Goose was first staged by the Grotesque Puppet Theatre in Crakow in 1955. After the liberalization of the arts brought by the October revolution of 1956, The Green Goose gained a permanent place in the theatre and became a force for the creation of the new Polish drama that flourished in the 1960s.  “Delight in nonsense has its roots in the feeling of freedom we enjoy when we are able to abandon the straightjacket of logic,” writes Freud. A great master of nonsense, GaÅ‚czyÅ„ski offers that feeling of freedom to both readers and theatre-goers.

Earlier version of these translations appeared in the Special English Language of Dialogue, Warsaw, 1969 and in Twentieth-Centry Polish Avant-Garde Drama, Ithaca, N.Y., 1977.

Come see the show January 31 and February 1, 2013 at 8 pm at Med Theater Lab at FLASHPOINT



Tribute to Professor Daniel Gerould

The Little Theatre of the Green Goose 

By Konstanty Ildefons Galczynski

January 31 and February 1, 2013 at 8 PM

At Mead Theater Lab at Flashpoint, 916 G Street, NW, Washington DC 20001

Purchase on line: TICKETS: $10-$20

A Bare-Bone production of nonsensical type of theater presents:

Sara Barker

Hanna Bondarewska

Danielle Davy

Paula Rich

Karin Rosnizeck

Mary Suib

Ray Converse

Craig Packard

Stephen Shetler

Rob Weinzimer

Ivan Zizek


Meet Agustin Blazquez: His Art Work Featured in “TRESPASSING”

Agustin Blazquez’s digest bio.

Agustin Blazquez

Born in Cardenas, Cuba, I grew up in the small towns of Coliseo and Limonar. From a very early age I was drawing and painting everywhere, including on the walls. I developed the sense of a strong force pulling me to a life devoted to art.

While I was studying in high school, I discovered that the style of my early childhood drawings bore a remarkable resemblance to the ancient Egyptian murals that appeared in my ancient history textbook. I took this as a sign of a mystic affinity between my inspirations and those of the ancient Egyptians.

During the early 1960s I also painted abstract compositions and around 1963 I returned to my first love–Egyptian art–and completed a second collection of Egyptian paintings.

I left Cuba for Canada n 1965 and began painting again–this time op-art–in Paris and Madrid where I exhibited for the first time. I came to the US in 1967 and began exhibiting in 1968.

In 1974, after a hiatus of 11 years, I resumed painting in the Egyptian style and in 1976 my one-man-show “Egyptian Sculptured Paintings” opened in Washington, DC. I received an official invitation from the Egyptian Embassy to visit Egypt as a guest of the Ministry of Higher Education in March of 1978.

After my return from Egypt other one-man and group shows followed in subsequent years.

Alfred Farag and Egyptian Theater The Poetics of Disguise, with Four Short Plays and a Monologue

“There could hardly be a better symbol for the troubled existence of the creative writer in    the post-revolutionary Arab world . . . than Alfred Farag.”
—Roger Allen, from the Foreword

From Dina A. Amin,
Farag’s translator and author of “Alfred Farag and Egyptian Theater
The Poetics of Disguise, with Four Short Plays and a Monologue”,

“Farag generally concerned himself with the human condition when it is subjected to severe repression… Recurrent themes in his plays are anxiety and paranoia, which seem to stem from certain impending dangers… In his plays, the oppressor can be anything from occupation to internal corruption or personal and social coercion, but the defense is always either hiding behind masks of neutrality or playing roles to depict a changing identity… strategies adopted by the weak to survive their harsh reality.” (xxii)

“The central metaphor of The Visitor is a wish for domination… by the male subject against his female counterpart. In this play, Farag reexamines traditional categories of power, challenging preconceptions of women as being overpowered, and presenting the female character as resisting all categorizations that place her in an inferior position to the man.” (149)

The Peephole consists of a suspenseful murder mystery that none of the characters wishes to investigate. The play presents the dilemma of a wealthy upper-middle class, whose fear of being dispossessed by the poor or the volatile political system under which they live makes it willing to commit crimes to preserve the status quo.” (166)

At the Special Permission of the author and Syracuse University Press


Cast & Crew of ‘Trespassing’ – two one-acts by Alfred Farag

                                                                                              Ambassador Theater Presents


“Perhaps it is a self-realization challenge…”

US Premiere of Two One Act plays from Egypt by Alfred Farag

Translated by Dina Amin

The Visitor Directed by Gail Humphries Mardirosian

The Peephole Directed by Hanna Bondarewska

Set Designed by Greg Jackson

Costumes by Elizabeth Ennis

Sound and Visual Effects by Paul Oehlers

Lights by Marianne Meadows

Assistant Director James Randle

Stage Manager Jennifer Grunfeld


Adam R. Adkins as Shaldum (The Peephole)

Hanna Bondarewska as Negma Sadiq (The Visitor), Mimi (The Peephole)

James Randle as Husayn (The Peephole)

Stephen Shetler as Husayn (The Peephole)

Rob Weinzimer as doorman (The Visitor) and Hasanayn (The Peephole)

Ivan Zizek as Mahmud Suliman (The Visitor) and Hasan (The Peephole)