British press about "bad roads".
The war in the east of Ukraine is not only explosions, shelling, fires and the names of the dead. On its backstage, on both sides of the front - in apartments, basements, at bus stops, driving cars, on the broken roads of Donbass - life goes on, never gets into the morning news. “Bad roads” are six stories about the relationships of people whose lives are shrouded in war, and about fractures that will never heal.
A young woman goes to the east of Ukraine in search of documentary material about the war, but there, in the gray zone of the border area, she becomes a hostage of both her and other people's stories. She lives them as if in the looking glass, where there is no good and evil, where the victim and the executioner change roles, and love becomes transient and elusive.
Natalia Vorozhbit wrote this play in parallel with the “Cyborg” script (dir. Akhtem Seitablaev), collecting stories and testimonies of real people during trips to the east of Ukraine. But if “Cyborgs” is a film about myth and victory, then “Bad Roads” is a play about life itself, which death will always prevail.
“Powerful play ... Metaphor of heavy emotional ways that women choose during the war. Vorozhbit becomes Ukrainian Sarah Kane "- The Guardian
“A merciless look at how war dehumanizes man” - The Independent
"A bold study of personal and sexual, as well as the special intimacy of war, which makes love transient and elusive" - Exeunt Magazine