"The Melodrama" is not a show about addiction, emptied bottles, or the drama of a hangover, nor is it about the person doing the drinking. This is not a show about the romantic myth of a self-destructive sensitive genius that can do whatever and whenever. We ask: who is the person in the background? Who is the eternally supporting character, the co-addicted person? 

"The Melodrama" is a story about Kuba and Krystyna, a couple entangled in a codependent cycle of ups and downs. The show takes its characters from "Pętla" by Marek Hłasko, however, it redirects its attention to Krystyna and the relations outside the male-female stereotype. 

After sixty years, contact with Hłasko's prose and the famous adaptation of "The Loop" directed by Wojciech Jerzy Has strikes with the archaic stereotypes and the theatrical play of the film lover and heroine (Gustaw Holoubek and Aleksandra Śląska as Kuba and Krystyna). In 2023, we live in a completely different world, which we peel like an onion from the successive layers of patriarchal power.

Can only the standard melodrama tell the story about love and can the fire of passion be fueled only by a melodramatic love triangle, burdened with suffering and remaining in hiding? As women, we grow up in the tradition of the cult of romantic relationships – it is supposed to be our goal and the fulfillment of our humanity. In the upbringing of boys and young men, the topic of emotional competencies, necessary for creating a mature relationship, is often omitted. This pattern results in one side (often unaware) taking the entire burden of responsibility for the relationship and supporting the family. However, the figure of the savior, the rescuer, the loving family member sacrificing their wants and needs for the good of the other person, knows neither gender, ser, nor norms. It requires rephrasing – so that we can fully see the mechanisms behind the "savior role".

In the show, we will follow the path of thoughts, beliefs, and the impulses of the Good Wife which does not necessarily have to be played by a woman. Hłasko starts his short story with a motto: “Life doesn’t hurt next to a good woman”. Will the Good Wife be able to find a new definition of goodness and care for herself, will she be able to become independent – not spectacularly, politically, or on the  streets, but privately and intimately?