Is Slovakia still part of Central Europe and by extension, the West? Since its separation from the Czechs in 1993, Slovakia has been searching for its identity. In 2004, it became part of the EU and the NATO, confirming its Western orientation. However, in recent years, Slovakia has become politically and culturally a deeply divided country. Cultural wars about human rights between the liberals, the conservatives and the ultra-right have been even more escalated by the full-scale Russian military invasion of Ukraine in 2022. On the one hand, this event has shown that it is necessary to expand the concept of Central Europe to include Ukraine, where it politically and mentally belongs; on the other, it has been the source of anxiety among many Slovaks precisely because of the prospect of expanding Central Europe. Some politicians have used the anti-Ukraine moods in the country as an opportunity to feed antagonism against the NATO and the EU, presented as authoritarian organizations. The public debate about the cultural identity of Slovakia has shown that in the last 20 years, half of the Slovak population has become unsure about Slovakia’s orientation towards the West. Contemporary drama production is profoundly concerned with Slovak identity and its geo-political belonging and uses the medium of the theatre to dramatize the dilemmas and dangers of the new reality. This contribution will look at several recent Slovak plays that thematize this discussion in the context of the Russian invasion of Ukraine. It will also look at the particular case of Bratislava City Theatre and their programme poster that provoked violent reactions from some groups and even a street protest because it sought to include the Ukrainians and the LGBTQ people in the Slovak society.