Look who's back

Opening night

The Mall Stage

Regular Tickets:
40 zł

Reduced FareTickets:
25 zł




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Robert Talarczyk director
Miłosz Markiewicz dramatisation
Katarzyna Borkowska set design, costumes, lighting design
Cezary Duchnowski music
Kamil Małecki, Mateusz Znaniecki video

Anna Kandziora / Marcin Całka stage manager, prompter
Robert Ciupa historical consultation
Piotr Roszczenko, Krzysztof Woźniak light and screening
Mikołaj Lichtański sound
Małgorzata Długowska-Błach executive producer
Maciej Rokita technical director
Johannes Wiebel poster
Przemysław Jendroska photos




Artur Święs Führer
Zbigniew Wróbel Newsagent / Journalist 1
Wiesław Kupczak Sensenbrink / Szpasdemir / Journalist 2
Dawid Ściupidro Sawatzki / Journalist 3
Anna Kadulska Bellini / Journalist 4
Anna Lemieszek Krömeier / Journalist 5



Various legends revolve around the death of Adolf Hitler. What if he did not die in the bunker in April 1945? What if instead he appeared in Berlin today? One morning, the Führer wakes up and is surprised to find that he is no longer in the place where he spent yesterday evening, that he is not surrounded by his faithful entourage, and the passers-by do not greet him with the German Greeting. Struggling with the new reality, he finds himself in... a television programme. His fiery performances, the ability to improvise and react to the socio-political situation are quickly gaining a lot of fans and supporters. His words fall on fertile soil and find a wide audience, especially due to the use of the power of social media. The spirit is slowly awakening in the nation...

The stage adaptation of Timur Vermes’s best-selling novel “Look Who’s Back” directed by Robert Talarczyk is a story about the seductive power of charismatic leaders, about mechanisms of power, management of social moods and the role that the media (both traditional and new) play in politics. It is also a great return of Artur Święs to the team of St. Wyspiański Teatr Śląski in Katowice.

Sztuka Współczesna Bestseller


“Look Who’s Back” is worth watching mainly for Artur Święs, who gives a show on the scale of Bruno Ganz. His Hitler is neurotic, but not only in this most known, loud way. Sometimes his hand trembles, at other times he grins his teeth, eager for bloodshed. There is more ambiguity than charge in him. We are disgusted by him, we are afraid of him, but we are still curious. It is good for the spectacle, not necessarily for the future of the world.
Dawid Dudko, onet.pl


This issue is easily transformed into a comedy – Hitler discovering the internet, learning how to operate in the 21st century, tasting fast food, etc. But this is not the case in the Katowice spectacle. This is dark art and the character created by Święs is terrifying. He is like a chameleon – in one moment, in a raised voice, which we remember from the old chronicles, expressing his views on the television programme on which he manages to appear, because the heads of the station dream of increasing the viewership. A moment later, already off the set, he manipulates his interlocutors in a cold and cynical manner.
Anna Ładuniuk naszemiasto.pl


Artur Święs, with a disfigured face, surprisingly similar to the Führer in silhouette, facial expressions and intonation, magnetises the audience. He attracts attention with the power of gestures, especially the sound of his voice, with which he can wrap anyone in the audience around his finger. All it takes is the right choice of arguments and unwavering faith in a unique mission to control the surroundings. They are created by the episodically precise Zbigniew Wróbel (excellent as the newsagent near Hitler’s bunker) and Wiesław Kupczak (the Turkish impresario) and the young – Dawid Ściupidro and Anna Lemieszek, who, intriguing with her stage energy, already makes us wait for her further roles.
Marek Kosma Cieśliński, Teatr dla Wszystkich


This performance is a master recital of one actor. The series of monologues that make up the narrative axis of this adaptation, delivered by Artur Święs with incredible expression, at times acquiring the precision of styling after authentic Hitler appearances, creates a series of scenes with different tones: at times comical, sometimes full of sarcasm, sometimes brimming with surrealism. It should be emphasised that Święs perfectly parodies the phrase of the main character, who becomes a star of popular media at the climax. When the phenomenal, mysterious Anna Kadulska, who manages this media machine, engages him in a television show, she does not yet feel what consequences await the originators of this undertaking.
Wojciech Lipowski, Miesięcznik Społeczno - Kulturalny ŚLĄSK