THE LAST DAD
Year 2035. Warsaw. A city of smog, with huge social differences, where districts of poverty
are next to rich housing estates – glass skyscrapers. In one of those rich places lives an
only child Ania (11), who during the Christmas Eve unwraps a gift – a modern teddy-dogrobot.
Teddy-dog-robot is a hit of the toy industry, invented by Ania’s mother – Elisabeth
(40), General manager of the Savix company, which produces toys. Ania’s father Harold
(38) can not cope with a spoiled daughter, who is disappointed by the absence of her
mother. Mother is late for Christmas Eve due to the promotion of her new product
– the crossing of a teddy bear and a dog.
Teddy-dog-robot is supposed too revolutionize the toys market. It is the perfect
combination of a traditional cuddly and a cyborg – a pet. The future of Elisabeth’s company
depends on the sale of teddy-dog-robot. After the presentation of a new product (in the
style of Steve Jobs) Elisabeth gets information about a failure in the prototype laboratory,
where new ideas for fairy-tale creatures of real size, endowed with artificial intelligence
are tested. Elisabeth neglects the alarm and rushes home by flying car, passing threedimensional
advertisements and Warsaw looking like the “Blade Runner” set.
At home, she fights with Harold who accuses her for not taking care of the house and
daughter. Ania leaves the safety zone and goes down to the lower districts. Suddenly she
loses consciousness due to the smog. The parent’s fight comes to an end and Elisabeth
promises that she will take care of the family. This moment she gets information that
the Great Black Bird has escaped from the prototype lab. Moment later Great Black Bird
kidnaps Elisabeth and Harrold. Ania getting back consiuos along with toys: teddy-dogrobot,
a doll and a dragon, decides to go on a journey through the night city to get her
Born in 1979, playwright, director.
Graduate of the drama directing department of Zelwerowicz Theatre Academy in Warsaw (2009). Univeristy degree for the author’s spectacle of „The Last Daddy” premiered at the Lalka Theatre in Warsaw. Holder of the Minister of Culture scholarship for 2004. Regarded as one of the most interesting playwrights of his generation.
His plays quickly found their way to Polish stages. His debut „Piaskownica” was staged in 2003 at the Jerzy Szaniawski Theatre in Wałbrzych, directed by Piotr Kruszczyński, followed by „Kopalnia” – a play commissioned specifically for this stage. In the following years, his plays were taken to the stage by numerous directors, including Tomasz Man, Paweł Miśkiewicz, Jarosław Tumidajski, Giovanny Castellanos. His works has been translated to English, German, Lithuanian, Italian, French and Hungarian. His directorial debut was staging of his own play – „Podróż do wnętrza pokoju” – for the Garaż Poffszechny stage of Teatr Powszechny in Warsaw (2003, artistic supervision – Władysław Kowalski). Michał Walczak was an assistant for Zbigniew Zapasiewicz at the Theatre Academy for Witold Gombrowicz’s „Iwona, księżniczka Burgunda” (2004). In 2004 he directed Gombrowicz’s „Kosmos” for Klub Le Mademe in Warsaw, in 2006 his own „Kac” for Nowy Teatr in Łódź. Wrote and directed „To nie jest kraj dla wielkich ludzi” for Teatr Montownia (2008), „Ojciec polski” for Teatr Polonia in Warsaw (2009) and „Rekonstruktor” for the Drama Laboratory in Warsaw (2011).
Walczak also writes plays for children. His „Smutna królewna” was directed by Paweł Aigner for Montownia
Theatre in Warsaw (2004). Walczak himself directed „The Last Daddy” for Warsaw’s Teatr Lalka (2007).
His „Janosik. Naprawdę prawdziwa historia” was directed by Łukasz Kos in 2010.
Walczak was awarded many awards in Poland and abroad for his plays, his playes has beed translated to English, German, Hungarian, Czech, Slovak, Russian, Ukrainian, Italian, French, Russian, Ukrainian and many others.
Born in1982 in Warsaw, screenwriter, playwright and dramatist.
Studied cultural studies at Warsaw University, screenwriting at Łódź Film School and directing of feature
films at Andrzej Wajda’s Master School of Film Directing. She also attended Drama School at the Drama
Laboratory. Participated in numerous international screenwriting workshops, including MIDPOINT, PASSION
TO MARKET and FILMS FOR KIDS PRO. Holder of scholarship of Ministry of Culture and National Heritage.
Since 2012 works at the Wrocław Puppet Theatre as literary director. She is the writer of TV series
(„Miodowe Lata”, „Doręczyciel”, „Przystań”, „Tancerze”, „Bez tajemnic”) and co-writer of short films („Zagraj ze mną” directed by Rafał Skalski, „Jutro mnie tu nie będzie” by Julia Kolberger, „Liebling” by Izabela Plucińska).
Her work as an author of stage adaptations and playwright includes, among others, „Smutna Królewna”
by Michał Walczak, directed by Paweł Aigner for Montownia theatre, „Koziołek Matołek” directed by Ondrej
Spisak for Teatr na Woli, „Momo” by Daria Kopiec for Pinokio Theatre in Łódź, „Peer Gynt” directed by Rafał
Sabara for Teatr Słowackiego in Kraków and „Madame” directed by Jakub Krofta for Teatr na Woli, „Królowa
Śniegu” directed by Robert Drobniuch for Kubuś Theatre in Kielce, „Wakacje Mikołajka” by Jakub Krofta
for Teatr Lalka in Warsaw. She writes plays for children („Pacan. Historia o miłości”, „Królewna Logorea
i Niedźwiedź”, „Dlaczego nie skaczesz?”). In 2010 she won first prize in a competition organized by Centrum
Sztuki Dziecka in Poznań for her play „Pierwszy Człowiek Świata”.
Her works also include dramas for young people and adults.
In 2006 received the award of Teatr Stary and „Dialog” monthy for her drama „Macica”, which premiered in
Poland at the Teatr Żeromskiego in Kielce and had its world premiere at the Lofft theatre in Leipzig. In 2015,
the play was staged by Brett Teater in Vienna.
The performance based on her play „Sam, czyli przygotowanie do życia w rodzinie” won Grand Prix of
20th Polish Contemporary Play contest.
Her plays has been translated to German, Czech and Finnish.
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