Antonia Constantin

REVIEW: Suba Trio

Published on May 13, 2024May 12, 2024 by Antonia ConstantinLeave a comment

Suba Trio’s performance is ethereal, elevating, and exquisite, a testament to the profound connections forged through years of musical collaboration. Their music is not just sound, is the science of sound.

On Saturday night, I had the incredible privilege of witnessing Suba Trio’s mesmerizing performance at Lafayette London, part of the noisenights initiative that aims to revolutionize classical music by bringing world-class musicians to intimate venues. From the moment I stepped into the venue, I could sense the anticipation in the air—a shared excitement for the musical journey that lay ahead.

Before the gig started, I couldn’t help but overhear two girls behind me discussing the event about to begin. One excitedly said to the other: “Be ready to be blown away!”. I looked around and indeed I had the feeling that everyone around me was waiting to have their minds and souls blown away by Suba Trio. And swept away we were, from the very first note.

Omar Sosa from Cuba, Seckou Keita from Senegal, and Gustavo Ovalles from Venezuela—three virtuosos in their own right—bring together their talents on piano, kora, and percussion, respectively, to create a fusion of sound that is nothing short of transcendent. Suba Trio embodies the convergence of three distinct cultures rooted in Africa. Their performance can be described as ethereal, elevating, and exquisite, a testament to the profound connection forged through years of musical collaboration. Their music is not just sound, is the science of sound.

Throughout the evening, I found myself utterly captivated by the effortless interplay between the three musicians. Each note seemed to flow seamlessly into the next. The pure sound of the kora was perfectly complemented by the beautiful sound of the piano and by the rhythm of each percussion instrument. The trio effortlessly wove together moments of humour and introspection, creating a dynamic soundscape that held the audience in rapt attention. This was a display of cultural richness.

But what truly set Suba Trio apart was their ability to engage the audience as active participants in the musical journey. As Seckou Keita aptly put it, the mark of a professional musician lies in their ability to make the audience smile, dance, and cry with joy. And indeed, we were swept away on a wave of collective euphoria, smiling, our bodies swaying, and I bet there were a few tears here and there too. The three artists were more than musicians. They acted like spiritual guides for an eager audience.

In a world often divided by borders and barriers, Suba Trio’s music served as a powerful reminder of the unifying force of art and culture. Through initiatives like noisenights, which seek to break down barriers and bring music to unexpected places, they are forging a new path for classical music—one that celebrates diversity, creativity, and the universal language of music.

REVIEW: Outlanders

Published on April 29, 2024 by Antonia ConstantinLeave a comment

From the preserved traditions of Scotland to the transformative experiences of migrants, this captivating showcase illuminated the intricate interplay between past and present, offering a profound meditation on the enduring power of music to unite, inspire, and transcend.

Outlanders at Kings Place, a remarkable show part of the Scotland Unwrapped season, unfolded as a deep exploration of Scottish cultural migration phenomenon of the 18^th and 19^th century, driven by the collaborative brilliance of Nico Muhly, Robyn Stapleton, Sam Amidon, and the Aurora Orchestra. The title “Outlanders” provided a fitting starting point for me before entering the auditorium to meditate on the themes of migration, cultural adjustment, and the human condition and to anticipate the motifs that appeared to endure within the collective consciousness during this traumatising transmutation process. Music served not only as a narrative tool but also as a medium through which nostalgia, trauma, and the transformative impact of cultural expression were brought back to life, dissected, and then reinvented.

Robyn Stapleton, whose ethereal vocals and commanding stage presence served as a instrument to the soul of Scotland, effortlessly transported the audience to a bygone era, infusing each song with a deep sense of reverence for tradition. She affectionately introduced Burn’s My Love is Like a Red, Red Rose as “an old friend” revisited, emphasizing her intimate connection to the material.

The symbiotic relationship between Nico Muhly and Sam Amidon was evident throughout the evening, a proof of their shared artistic vision and years of collaboration. Together, they breathed new life into traditional songs. The Only Tune, a reworking of The Two Sisters murder ballad already sang by Robyn and Sam minutes before, was in my view the star of the evening. Clocking in at an impressive 15 minutes, was a tour de force of emotion, traversing a spectrum of feelings from sorrow to terror to eventual triumph. The traditional folk ballad is deconstructed in three segments. The performance commenced with a slow, mysterious prelude, evoking a sense of foreboding. Sam resembles a storyteller struggling to compose his thoughts. As the song unfolded, it took a dark and unsettling turn, mirroring the horrifying actions of the miller, amidst a cacophony of discordant sounds. The final segment saw a dramatic shift in tone, as the music became brighter and more hopeful. Though tinged with echoes of grief and terror, there was a palpable sense of resilience in the air, a testament to the human spirit’s ability to transcend even the darkest of tragedies.

In the wake of the performance, one thing was abundantly clear: Nico Muhly’s genius was on full display, leaving an indelible impression on all who bore witness to his artistry. His ability to deconstruct and reinterpret tradition with such finesse was nothing short of revolutionary, offering a fresh perspective on age-old classics.

The Aurora orchestra, through its seamless fusion of instruments, navigated the delicate balance between tradition and innovation with precision, drawing the audience into a timeless realm where ballads became vessels for cultural expression.

There is no doubt in my mind that this was a transcendent journey through time and space, where culture served as a conduit for connection and understanding. From the preserved traditions of Scotland to the transformative experiences of migrants, this captivating showcase illuminated the intricate interplay between past and present, offering a profound meditation on the enduring power of music to unite, inspire, and transcend.

REVIEW: Sacred and Profane

Published on April 26, 2024 by Antonia ConstantinLeave a comment

A hilarious take on the modern dating scene that is also a thought-provoking exploration of the ways in which technology shapes our relationships and identities. With its sharp wit and charm, this production is surely not one to miss.

Samantha Gray’s latest comedy at The Space, “Sacred and Profane,” invites audiences into the tangled web of online dating, where love and deception collide in hilarious fashion. Set against the backdrop of modern romance, Gray deftly navigates the complexities of finding love in a digital world, delivering a witty and insightful commentary on the traps of online relationships.

Lad, brilliantly played by Stanley Karikari, is a hapless but not a 100% innocent romantic trying his luck in love with online dating. Lad’s quest for love takes an unexpected turn when he falls victim to an online scam. In “Sacred and Profane,” Lad emerges as the embodiment of the in between space of what is sacred and what is profane in the realm of modern romance. At first glance, Lad’s promising relationship with Mary should epitomize the sacred. However, as the story unfolds, cracks begin to appear, and the couple’s shortcomings and vulnerabilities come to light. At the same time, Lad’s encounters with Nancy, despite their initially profane nature as part of an online scam, gradually evolve into something unexpected.

Gray’s script masterfully weaves together multiple storylines, offering a nuanced portrayal of the characters’ motivations and the consequences of their actions. Central to the scrip and in contrast to Lad’s internal struggle with the sacred and profane, Cash emerges as the personification of the aggressive marketing campaigns that inundate our online experiences. Ben Felton’s portrayal of Cash is nothing short of fascinating with each charismatic pitch and persuasive manoeuvre he delivers in a preacher like manner.

I was impressed by all standout performances, including Athena Zacharia as the duplicitous Nancy and Jazzie Ricks as the scheming Stella. The chemistry between the actors is palpable, adding depth and authenticity to the production.

One of the play’s strengths lies in its clever set design, which allows for seamless scene transitions and enhances the thematic exploration of the sacred and profane. Against a backdrop of dynamic projections and evocative music, the action unfolds with a quick pace that keeps audiences engaged from start to finish. The comedy never loses its pace.

“Sacred and Profane” is not only a hilarious take on the modern dating scene but also a thought-provoking exploration of the ways in which technology shapes our relationships and identities. With its sharp wit and charm, this production is surely not one to miss.

REVIEW: London Story & never ending (Story)

Published on April 20, 2024April 19, 2024 by Antonia ConstantinLeave a comment

Dance On Ensemble’s London Story and never ending (Story) transcend the boundaries of conventional dance performance, inviting audiences to partake in a multidimensional exploration of movement, language, and emotion. It is a testament to the enduring legacy of Merce Cunningham and a celebration of the transformative power of artistic expression.

Little did I know, upon entering the intimate setting of the Lilian Baylis Studio for the Elixir Festival’s showcase of dance and age featuring Berlin’s Dance On Ensemble, the depth of the immersive artistic journey that awaited me. During two separate sets, Merce Cunningham’s iconic work Story would be recreated and responded to by a cast of amazing choreographers and dancers.

Merce once remarked about dance in an interview “We don’t interpret something, we present something… any kind of interpretation is left to anyone looking at it from the audience.” With these words echoing in my mind, both I and the audience found ourselves confronted with the exciting task of engaging with the performance on our own terms. This rare freedom of interpretation, so palpable in this show, distinguishes it from most other performances. Drawing inspiration from Cunningham’s innovative approach, where dancers were empowered to shape their movements and sets were uniquely constructed for each performance, Dance on Ensemble’s London Story under the direction of Daniel Squire skilfully utilized limited archival materials to breathe new life into this iconic piece for contemporary audiences. Despite the freedom of interpretation, the rigor of structure imposed by the electronic clock on stage and the meticulously curated blackboard, outlining the sequence of numbered solos, duets, and ensemble pieces, offered a framework within which the narrative unfolded. The choreography stood out for its robust structural integrity, even though this structure was inherently organic rather than predetermined. The music underscored the symbiotic relationship between movement and sound. There was a palpable and deliberate dissonance between dance and music, emphasizing their separated but shared existence in the temporal dimension. While movement creates this narrative, there was another intriguing presence on stage, an artist meticulously recreating fluorescent tape dancing figures on black card. As the lights dimmed at the close of the performance, we were left with figures whose movements seemed to hang suspended in time.

Mathilde Monnier’s never ending (Story) delves into the depths of Cunningham’s legacy guided by an improvised poem by David Antin. As the dancers navigated the intricacies of structure, rhythm, and emotion, I found myself drawn into a captivating exploration of the human experience. The rhythm of the dancers’ movements became the very heartbeat of the performance, the music. The speeches, infused with wit and humour, offered poignant reflections on the intersection of storytelling and movement, inviting interpretation and engagement from the audience. In the culmination of these stories through motion, structure, and sound, I found echoes of our own core structures, our deepest emotions and desires laid bare. In this dynamic exchange between language and movement, dancers not only articulate their stories but also listen to the resonance of their own voices within the context of the unfolding narrative.

In conclusion, Dance On Ensemble’s London Story and never ending (Story) transcend the boundaries of conventional dance performance, inviting audiences to partake in a multidimensional exploration of movement, language, and emotion. It is a testament to the enduring legacy of Merce Cunningham and a celebration of the transformative power of artistic expression.

REVIEW: Double Bill – Mother / In A Cage of Light

Published on April 14, 2024April 14, 2024 by Antonia ConstantinLeave a comment

Susan Kempster & Charlotta Öfverholm’s double Bill is a triumph of contemporary dance, offering a multifaceted portrayal of emotion, narrative, and artistic creativity. Through their masterful choreography and the nuanced performances of the dancers, Kempster and Öfverholm invite audiences to explore the deepness of the human condition with unflinching honesty and intense understanding. Both performances resonate deeply, leaving a deep emotional imprint on the spectators’ psyche – An evocative exploration of intimacy and identity through movement.

In a stunning double bill at The Lilian Baylis Theatre, award winning choreographers Susan Kempster and Charlotta Öfverholm deliver an exquisite exploration of the essence of human condition through their respective pieces, “MOTHER” and “In A Cage Of Light.” Through their unique artistic visions and powerfully crafted choreography, Kempster and Öfverholm invite the audience to witness an emotional process of self-discovery and introspection. The beautifully constructed visual pieces speak through movement about the depths of intimacy, identity, and the ever-evolving relationship we have with our bodies.

“MOTHER,” a world premiere commissioned by Sadler’s Wells, stands as a poignant intergenerational duet that challenges conventional notions of intimacy and familial bonds. The choice of title invites us from the beginning to reflection. We are encouraged to see beyond our own experiences. Can a mature woman and a young man be caught in a narrative that avoids the traditional mother-son interpretation? Can they represent the different facets of one singular self? In this context, the idea of motherhood becomes a metaphor for the profound connections we form with one another and with ourselves. The visual spectacle is not merely a performance, but a journey into themes of altered perceptions and the complexities of human relationships. Underlying tones of grief permeate the piece, serving as an invisible third presence on stage. Harry Wilson and Charlotte Broom navigate this emotional landscape with grace, circling it, attempting to contain it, yet ultimately acknowledging its presence without denial. They are in perfect synchronicity, displaying an artistic chemistry that is palpable on stage. Their seamless movements, coupled with the hauntingly beautiful sounds and perfect light, create a mesmerizing story. The choice of identical outfits for the dancers further underscores the universality of human experience, transcending gender and age to emphasize the shared condition that binds us all. The rigidity of the fabric and its metal like quality, recalling two copper made bodies, creates a striking visual contrast against the fluidity of motion exhibited by the dancers.

“In A Cage of Light,” making its UK premiere, emerges as a lively celebration of the mature dancer and a captivating exploration of self-identity. Charlotta Öfverholm’s choreography, infused with strong characters and accompanied by live music, is inviting the audience to take part in a journey at times comical, at times dark, but refreshingly honest throughout. At its core, the piece examines the profound relationship we have with our own bodies as they gradually change over time. Through Öfverholm’s bold artistic vision, the aged performer at the center of the narrative is forced to confront her own limitations of her physicality. Simultaneously, there is a sense of liberation—a recognition of the inherent beauty found in embracing one’s authentic self. The title suggests a metaphorical confinement or constraint within the spotlight. The performing artist is constantly under scrutiny and exposed to the gaze of the art consumers. The “cage” implies a sense of limitation or constraint. By contrast, the use of “light” suggests a transformative quality beautifully revealed through Öfverholm’s choreography.

Overall, Susan Kempster & Charlotta Öfverholm’s double bill is a triumph of contemporary dance, offering a multifaceted portrayal of emotion, narrative, and artistic creativity. Through their masterful choreography and the nuanced performances of the dancers, Kempster and Öfverholm invite audiences to explore the deepness of the human condition with unflinching honesty and intense understanding. Both performances resonate deeply, leaving a deep emotional imprint on the spectators’ psyche.

REVIEW: Macbeth

Published on April 13, 2024May 17, 2024 by Antonia Constantin2 Comments

V&L production’s innovative storytelling of Macbeth at The Jack Studio, despite its shortcomings, is a testament to the enduring power of Shakespeare’s work and the boundless creativity of those who seek to reimagine it. While the rapid pace format may not offer a definitive answer to its purpose, it nevertheless provides a unique and thought-provoking interpretation of a timeless classic.

“Macbeth” at The Jack Studio Theatre in Brockley is an attractive exploration of Shakespeare’s classic tragedy set in a near post-apocalyptic future, where the remnants of a society in survival mode fight for power and succession. Reimagined by Vince Mathews and Liz Love for V&L Productions, this is an abbreviated version of the classic play. Brought down to only 75 minutes, the production delivers some memorable moments. However, at times, it feels like it sacrifices a more profound exploration of ambition, guilt, and fate that defines the play in support of a rapid-fire approach. While the dystopian setting and innovative staging add an intriguing layer to the narrative, they cannot fully compensate for the loss of those heavy moments that give “Macbeth” its timeless tone.

From the moment the audience enters the intimate space of The Jack Studio, they are exposed to a palpable sense of dystopia, as if trapped within the confines of a desolate bunker. The props function as echoes from a world now gone. The light is dimmed just right. The pace of the play is fast, the speeches are delivered with speed, as if mirroring the frenetic energy of a society in freefall.

Central to the production is the evolving dynamic between Macbeth and Lady Macbeth, portrayed with chilling intensity by Vince Mathews and Rosa Gensale. What begins as a power-hungry alliance gradually, but quickly devolves into a depiction of abuse, with Macbeth’s descent into tyranny reflected in scenes of almost physical violence towards Lady Macbeth. The production could have benefited from a more in-depth exploration of this psychological angle.

The witches, portrayed as three enigmatic figures cloaked in hospital scrubs, project a haunting presence. Their involvement in Macbeth’s rise to power is not merely symbolic; it is visceral and tangible. They are not mere illusions and deceptions of a diseased mind, but entities that interact physically with Macbeth and Lady Macbeth, engaging in a palpable ritualistic exchange.

Amidst the chaos and bloodshed, a silent yet omnipresent character commands attention: the throne, central to the set. Symbolizing the corrupting allure of power, it stands as a stark reminder of the fragility of the human spirit in the face of unchecked ambition. Behind it, a canvas screen serves as a portal for the supernatural elements of the story to manifest, casting eerie shadows that dance across the stage like spectres from a world gone mad.

Worth mentioning are also the performances of David Martinez as Macduff and Reece Lewis as Banquo. The portrayal of their characters would have benefited from additional time to explore their psychological complexities and to allow the audience to immerse deeper into the world of Macbeth,

V&L production’s innovative storytelling of Macbeth at The Jack Studio, despite its shortcomings, is a testament to the enduring power of Shakespeare’s work and the boundless creativity of those who seek to reimagine it. While the rapid pace format may not offer a definitive answer to its purpose, it nevertheless provides a unique and thought-provoking interpretation of a timeless classic.

REVIEW: The Girl In The Green Jumper

Published on March 16, 2024March 15, 2024 by Antonia Constantin1 Comment

A mesmerising and unmissable dance of light and shadow

The Girl In The Green Jumper at The Playground Theatre, part of the Gail Louw festival, is not your ordinary theatre experience. Coupled with a carefully curated Cyril Mann exhibition at Piano Noble, it transcends the boundaries of conventional drama, offering an immersive journey into the stormy relationship between an artist and his muse, partner, and wife. The exhibition sets the stage for the emotional rollercoaster to come. Meeting Renske, Cyril’s wife, whose autobiography served as inspiration for Gail Louw text, was a key moment in my experience of the play. Our conversation provided me with invaluable context, informative and emotional. She passionately pointed out details from the paintings to me, explaining their significance in the upcoming performance and urging me to remember them. I felt myself becoming an extension of her own memory. Each detail she emphasized felt like a thread connecting me to the story on stage.

Gail Louw masterfully condenses two decades of life into a 90-minute emotional performance, capturing the essence of a complex dance between light and shadow, love and turmoil, youthfulness and agedness. The chemistry between the characters is palpable, fuelled by both admiration and inner conflicts. The text is augmented by moments of movement, Cyril and Renske being trapped in a sort of tango of unspoken pain. The seamless mixture between spoken word and choreography confers the story a sense of fluidity, enhancing the theatrical experience.

The play unfolds in two parts, reflecting the evolution of the characters’ relationship. From Renske’s youthful adoration to her emergence as an independent woman, the dynamics shift, revealing layers of depth and complexity. Cyril’s obsessive pursuit of sunlight becomes a metaphor for his artistic quest, culminating in a touching ending where he finally dissipates into the light he so desperately tried to capture in his work.

The production abounds in cinematic elements, from the amazing soundtrack featuring a haunting Jacques Brel, a distorted Joe Cocker’s You are so Beautiful and much more to the evocative projection of Cyril’s paintings and his last letter to his wife. The stage set is reproducing details from the paintings that must have acted as memory triggers for Renske at the time she wrote her book. Its clever design encapsulates the claustrophobic nature of the relationship.

The actors deliver standout performances, with Natalie Ava Nasr skilfully navigating an authentic rhythmic accent to complement Peter Tate’s elaborated phrasing.
Even though completely immersed in the play, I found myself from time to time irresistibly drawn to the real Renske seated in the audience. Sometimes she nodded ever so slightly in approval, adding an extra layer of authenticity to the entire experience. Her presence is a reminder that the emotions on stage are not just fictional, but rooted in reality, raw, honest and unfiltered. Every aspect of the production feels like an animated canvas projected on stage, meticulously crafted by Gail Louw.

The Girl In The Green Jumper is an unmissable theatrical experience that transcends the boundaries of storytelling, offering a mesmerising journey through the highs and lows of love, art, resilience, and the human spirit.

MACBETH (AN UNDOING) production photos taken on 7th of March 2024 at the Rose Theatre, London

REVIEW: Macbeth (an undoing)

Published on March 13, 2024 by Antonia Constantin1 Comment

“Macbeth an Undoing” is a bold and thought-provoking experiment that pushes the boundaries of Shakespearean adaptation

Macbeth (an undoing), Zinnie Harris’ latest adaptation and staging of Macbeth, is a bold reinterpretation of Shakespeare’s timeless tragedy. Such an undertaking is not without risk; playwrights who attempt to rewrite works with a VIP status tread a fine line between homage and sacrilege. However, Harris confidently accepts this challenge, by adding a new dimension to the immense collection of reinterpretations of Macbeth: a distinct feminist agenda that challenges traditional power dynamics and narratives within the western dramaturgy. Layer after layer she transforms characters, she reimagines possibilities, she questions roles, she plays with balance between dominant and subordinate inside the criminal couple. In Harris’ universe, it is Macbeth (Adam Best) who will lose his mind under the burden of guilt, while Lady Macbeth (Nicola Cooper) takes over the throne. This reversal of roles sets out to serve as a commentary on gender and power, inviting audiences to reconsider the archetypal dynamics of Shakespeare’s original text. Harris does not stop there. While Lady Macbeth’s ascent to power is undisputable, her marginalization within the male-dominated world of the play raises questions about the limitations of female agency, even when in power.

From the start, it becomes clear that Macbeth (an undoing) is not your typical Shakespearean affair with a terrific Liz Kettle, as main witch, servant, and mad woman, delivering a knock knock joke. However, it often feels that the departures from the traditional Shakespearian canon are forced and end up on many occasions working against the intended agenda. The juxtaposition of Shakespearean text with a modern one lacking in poetry and depth creates a disruptive effect over the narrative flow that undermines the plot in climatic moments. The result is a fragmented experience, reminiscent of a 1920s period drama gone wrong. The supernatural is ditched in favour of a weak allusion to social hierarchy when witches turn into servants. The backstories appear, at times, dull, unsatisfyingly adding to the length of the production. The metatheatrical interventions are not always desirable as too often the characters seem to come out of their roles. The feminist manifesto is challenged by the contrast between Lady Macbeth and Lady MacDuff, emphasising thematic antithesis such as power vs motherhood, enforcing gender stereotypes more than liberating the narrative of any.

Nicola Cooper’s portrayal of Lady Macbeth is the highlight of the production. Her commanding presence and brilliant performance breathe new life into the character, offering layers of complexity and vulnerability. Her acting is supported by a great cast and by Tom Piper’s clever set design, Lizzie Powell’s atmospheric lighting, Pippa Murphy’s soundscapes, and Oğuz Kaplangi’s haunting music.

Overall, “Macbeth an Undoing” is a bold and thought-provoking experiment that pushes the boundaries of Shakespearean adaptation, and it deserves our appreciation for adding new dimensions to a story told so many times before, despite leaving us feeling that it does not entirely hold up.

REVIEW: Rika’s Rooms

Published on March 6, 2024 by Antonia Constantin1 Comment

Vivid, poignant, and steeped in emotion, Emma Wilkinson Wright’s powerful performance in Rika’s Rooms is sure to leave a lasting impression

Gail Louw’s Rika’s Rooms, part of the Louw season at The Playground Theatre, is a compelling and complex theatrical experience that examines the densities of memory, identity, and trauma caused by loss. Based on Louw’s novel, the play is inspired by the playwright’s own mother, who was sent away as a child from Nazi Germany to Palestine and then later as young woman moved to South Africa into the midst of Apartheid. Now, aged 76, living in England with dementia, Rika dwells between two worlds: the present, which doesn’t make too much sense anymore, and the past, more coherent, but populated by people lost.

Against the backdrop of Rika’s dementia, the play takes the audiences on a journey through the maze of her mind, exploring the symbolism of rooms as vessels for storing fragments of memory, and the profound sense of abandonment that accompanies Rika throughout her life.

Fundamental to the success of this production is the remarkable performance by Emma Wilkinson Wright, whose interpretation of Rika and other characters is nothing short of mesmerising. Under the guidance of director Anthony Shrubsall, the actor proves to be in absolute control over her body language and voice, as she effortlessly inhabits Rika’s personas and the other people in her life. Her performance captures the sense of liminal spatiality that Rika navigates emotionally. In moments of profound despair, her cries, perfectly calibrated, punctuate the spaces between the “rooms”. In her performance, Wilkinson Wright unwraps the trauma that lies beneath the surface, inviting audiences to witness the raw, unfiltered essence of Rika’s experience.

The stage is set with intimate simplicity, allowing the audience to focus on Wilkinson Wright. The props are cleverly employed to allow a smooth transition between “rooms”, creating an impression of temporal fluidity despite the memory jumping all over the timeline. Rika transitions from victim to freedom fighter, navigating war, love, and personal choices. We witness Rika’s youthful idealism, her defiance, and her moments of vulnerability. “I need to fill up this empty room that I have become”, Rika says.

The dialogue buzzes with wit and authenticity under Wilkinson Wright’s brilliant performance, despite the many instances of loss and tragedy, revealing the inner conflicts faced by Rika. “In actual fact, I might want to be a socialist if I understood what it meant, but I don’t want to live on the kibbutz and not have my own stuff. I mean, I really don’t want to wear big fat Yudit’s knickers.’”

Rika’s Rooms is a must see for anyone seeking a moving and intellectually stimulating theatre experience.