- March 2005
Trygaeus, elderly farmer hero and all-round horny old man, flies on a dung beetle to Heaven in order to rescue Peace, and ends up marrying her nubile niece. On the way he has to hide from War’s enormous furry phallus, dupe the gullible Hermes, dodge a disgruntled arms dealer, and find enough food to feed the wedding guests.
Aristophanes’ effortlessly ridiculous satire on the war between Athens and Sparta is brought bang up-to-date in this all-singing, all-dancing adaptation. So let the all-female cast rub you up the right way, as girl takes on girl with shadow puppet action.
Looking for a show? Peace is the one you want.
Greece is the word.
- November–December 2004
“The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of Monsieur de Sade:”
"...we must wake up the nerves, using all the languages of theatre... by breaking down the actor/audience dichotomy, disorientating, using lighting and sound to the ultimate effect, but most of all, using the dream language of symbolism..."
- February 2004
Sartre's intense vision of hell: no fire, no demons no torture devises. Hell is...other people. Three people meet in hell. Initially they try to hide from each other what brought them there. But they cannot live together without penetrating each others' intimate spheres, without forcing each other to confess who they had been and what they had done. No one is allowed to keep his secret and no one is spared the humiliation of being recognised for who he is. And yet: the more they are being hurt and the more their lives become hell, the more they become bound to each other. The play thrives on the dense, claustrophobic and yet erotic tension between the characters. We will try to portray their anguish, violence and passion in a way that evokes the audience's passions as well as captivating their intellect.
- October 2003
Andorra is the story of Andri, the adopted child of an Andorran school-teacher, whom everybody including himself believes is a Jew. Andri's life begins to fall apart when the Andorrans are invaded by their fiercely anti-Semitic neighbours, the Blacks; his countrymen, seeking a scapegoat, turn on him. In the conflict that follows, Andri is forced into confronting his own identity in a struggle with hatred, despair and love which is doomed to fail.
As Max Frisch insisted, Andorra is nothing to do with the state of the same name, nor with any country, but a vision of violence, bigotry and tragedy that could occur anywhere. This production stays faithful to his ideals, refusing to moralise and exposing the brutality that can lie so easily under a thin veneer of bourgeois respectability.
- June 2003
