This paper analyses the modifications introduced by Szymon Jachimek in his translation of The Tiger Lillies’ songs, used in a Polish theatrical production in 2016. The Tiger Lillies, A British band, represent an alternative genre of punk cabaret, characterised by dark, transgressive humour, inspirations drawn from Weimar-era cabaret, and neo-Victorian aesthetics. Based on selected examples and taking into consideration the intersemiotic elements of music and performance, the author discusses the deviations from the source text introduced by the translator: from (self)censorship of religious irreverence to far-reaching domestication shifting the material towards topical political satire. Rather than considering such deviations as precluding the text from being a translation per se and branding it adaptation, Mach instead perceives them as expressions of creativity and appropriation, reconstructing the means and aims of making the material “one’s own”. The paper, it is to be hoped, will form an invitation to further study of the creative capacities and the authorial competence of song translators.