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By Bertrand Lesca and Nasi Voutsas (London)

The Best of the 2017 Edinburgh Fringe at ETB | IPAC

Selected as one of The Guardian’s Top Ten Theatre Productions of 2017

“…a brilliant piece that reflects on Syria and the breakdown of relationships.” (★★★★ The Guardian)

Palmyra is an exploration of revenge, the politics of destruction and what we consider to be barbaric, inviting people to step back from the news and look at what lies beneath, and beyond, civilization.

★★★★★ “A thrilling tightrope walk of a show – tense yet cathartic, angry yet thoughtful. A five-star triumph.” – The To Do List
★★★★ “Weird, wonderful and strangely stressful.” – The Stage
★★★★ “It’s rare to see emerging artists with such a strong signature style … It’s a stressful watch, though, but sublime as well.” – Matt Trueman, What’s On Stage
“Bertrand Lesca and Nasi Voutsas have created a strong contender for “Best Piece of ‘Political Theatre,’ Edinburgh 2017. … Proper genius, this.” – Andrew Haydon, Postcards from the Gods
★★★★ “The show’s focus on broader issues emerging from Syria is its great strength. Challenging the audience constantly on our role in the conflict from spectators to global influencers, the piece covers a great amount in under an hour… Unsettling.” – The Reviews Hub


by Quote Unquote Collective

The Best of the 2017 Edinburgh Fringe at ETB | IPAC

Pick of the Edinburgh Fringe 2017 by The Guardian

“Truly astounding stuff.” ★★★★★ The Stage: Critics Pick Edinburgh 2017

In the wake of her mother’s death, Mouthpiece follows one woman, for one day, as she tries to find her voice. Interweaving a cappella harmony, dissonance, text and physicality, two performers express the inner conflict that exists within one modern woman’s head. Ranging from tender to merciless, with uncompromising precision, Mouthpiece magnifies a daughter’s contemplation of her mother and becomes a rigorous investigation of womanhood itself.

After Hollywood actor Jodie Foster and wife Alex Hedison had seen Mouthpiece in Toronto, they brought the play to the Odyssey Theater in Los Angeles: “Mouthpiece touches on every part of the female experience from birth to death using dance, music, and wicked humor with just a bathtub for scenery. The result is a new kind of feminist language which ignites pure, intravenous emotion. It’s impossible to describe and truly unforgettable.” JODIE FOSTER AND ALEXANDRA HEDISON
“There are no weak moments. Nostbakken and Sadava are powerhouses of performers: the standing ovation at the end is the topping on the cake, a well-deserved accolade to the formidable strength of this piece.” ★★★★★ Edinburgh Spotlight


Co-artistic director of Quote Unquote Collective and core member of Theatre Ad Infinitum UK. An award-winning playwright, performer and composer, Amy has co-created numerous award-winning productions including Theatre Ad Infinitum’s First Class (2011), The Big Smoke (2012), Ballad Of the Burning Star (2013) and Bucket List (2016). Amy co-wrote, directed, composed and performs Mouthpiece, which is currently touring the world. In 2017 Mouthpiece was published by Coach House Books and adapted into a feature film. Currently Amy is developing Quote Unquote Collective’s six-woman play Now You See Her premiering in Toronto October 2018.

Co-artistic director of Quote Unquote Collective, Norah is a Toronto-based actor and creator with a background in devised physical theatre. A graduate of the MFA program at the Dell’Arte International School of Physical Theatre, she has been involved in the writing and creation of new work with numerous companies both in Canada and internationally. Norah co-wrote, created and performs Mouthpiece, which is currently touring the world, was recently published by Coach House Books and is being adapted into a feature film. Currently Norah is developing Quote Unquote Collective’s six-woman play Now You See Her premiering in Toronto October 2018.


Skin Deep in Zaraniya

A participatory performance with live soundscape

An international ensemble enact performative tasks in a live soundscape bringing participants into a deeper understanding of the immigrant phenomenon and the universal human impact of sound and movement.

In this age of immigration anxiety, cross the threshold to the unexplored land of Zaraniya, immersing yourself in an interactive transformative music, movement and theater encounter rousing you from the sleep of the familiar.


On the Menu

a dance that eases our guilt

a navel-gazing friendship portrait

a creamy dreamy crowd-pleaser

or nothing.

And although we enjoy some options more than others, we make you choose, and then at least we feel better about the whole thing.

Ethan Folk and Ty Wardwell are art partners based in Berlin. They make experimental performances and films which probe masculinity, queerness and privilege.

Landscapes of My Inner Diaspora

Fantasy and memory are combined in the attempt to define one’s own identity, or, more fittingly, the attempt to create it…

This performance uses music, text, movement and visuals to externalize the most inner, the most intimate, the so-called “immigrants of identity”. The audience is taken on a journey through the jagged paths and landscapes between physical and psychic diaspora.

The contradiction and abstraction created when one listens a little bit to everything without actually really listening to anything is made palpable, dreamy, oniric landscapes are created where the alienation extends to space, time, material, body and psyche.

When I Was Old/When I Get Young

A 100-year-long life span of who we are, here, right now

A special community performance, where a small group of local residents (from Berlin but not from
Berlin) will step out onto the stage.

From newborn baby to senior citizen, the project weaves together personal reflections and ambitions, past and future lives; to create a story of a lifetime.

When I Was Old/When I Get Young was originally conceived in response to William Shakespeare’s “Seven Ages of Man” speech and captures what we’ve come to understand about being human.


the freedom of darkness

A long fascination with Ibsen’s A Doll’s House sends Orlando and Shlomo on a journey to Noraland by searching after their own reflections in the play.

Are we trapped in our own perception of our lives? Could we really ever follow Nora’s footsteps and achieve independence? Are we willing to pay such a high price? Is it possible for a male performer to step into Nora’s shoes?

A colorful interpretation of the exciting yet fearful moment when one is standing in the darkness behind a closed door without knowing where to go.

I Am Not A Joke (Take Two)


Feminism has never been so hip and trendy! We could see this as a true victory for feminism and still post a “I’m a feminist” selfie real quick. Let’s be honest. This kind of “high gloss feminism” doesn’t cover up the smell of the shit we encounter every day in the form of sexism, racism and every other kind of possible phobia.

Accompanied by a guitar, a synthesizer and drum machine, The Kill Joys sing, scream and perform against daily discriminations and the patriarchy. I Am Not A Joke (Take Two) is an appeal against this shit while simultaneously questioning the consumability of feminism.

The Kill Joys (Olivia Hyunsin Kim, Magda Drozd & Co.) examine intersectional feminist issues within the form of a theatrical concert performance. The collective was founded in 2016 and has screamed about what makes them angry in a do-it-yourself style ever since. Using songs and performative actions that focus on their own experiences with everyday racism as well as within the performing arts, they create a feminism that is relevant for them and their concerns as women, artists and immigrants that is certainly not a “feel good” marketing strategy.

Featuring a post-performance discussion on Thursday, March 1 in collaboration with Theater Scoutings Berlin!

Celebration, Florida


Celebration, Florida is a town located right next to Disney World and was originally developed by Disney as a sort of idealistic, controlled, manicured, shiny version of what the perfect town should be. It is an actual town, but at the same time a simulation of a town. What does this town mean to Greg Wohead? What happens when we miss a person, place or time? What does the performance tell about the human connection?

Veering between reality and simulation, Celebration, Florida orbits around ideas of surrogacy; a stand-in to replace a person you miss, a re-creation of an experience you can’t stop thinking about, nostalgia for a place that never existed.

This is a show for anyone who has ever missed anyone or anything.

Greg Wohead will speak to you through two performers using pre-recorded audio and headphones. The performers will know almost nothing about the show and they will meet for the first time when they walk on stage.

Performed on Tuesday, March 13 by Carrie Getman and Andre Neely

Performed on Wednesday, March 14 by Quatis Tarkington and Saudia Young

“A moving tone poem on loss and retrieval”
★★★★ Stewart Pringle, The Stage
“A work of great sensitivity written with enviable grace and poise”
Simon Bowes, After the Lights Fade

Featuring a post-performance discussion on Tuesday, March 13 in collaboration with Theater Scoutings Berlin!




Commissioned by The Albany and developed at The Yard. Supported using public funding by the National Lottery through Arts Council England.

Greg Wohead is a writer, performer and live artist originally from Texas and now working in London. He makes theatre performances, one-to-one pieces and audio works. His work has been seen at theatres and festivals in the UK, US and Europe including Battersea Arts Centre, London (UK), Bristol Old Vic (UK), Mayfest, Bristol (UK), Northern Stage, Newcastle (UK), Forest Fringe, Edinburgh (UK), Bios, Athens (Greece), Brighton Festival (UK), Fusebox Festival , Austin (USA) and ArtPower, San Diego (USA). He’s an Associate Artist at The Yard and Shoreditch Town Hall in London.


“Dear performer. I want to show you something. Did you know, in Farsi my name is written like this:  ‘.ROUPNAMIELOS MISSAN si eman yM’ ? Did you know ‘Nassim’ means ‘breeze’ in Farsi?”

From Berlin-based Iranian playwright Nassim Soleimanpour comes an audacious theatrical experiment that explores the power of language to unite us in unknown, uncertain times.

No rehearsals. No preparation. Just a sealed envelope and an actor reading a script for the first time. Plus some tomatoes.

WINNER of the Fringe First Award at Edinburgh Fringe 2017

NASSIM follows Soleimanpour’s globally acclaimed White Rabbit Red Rabbit, which has been translated into over 25 different languages and performed over 1,000 times by names including Sinead Cusack, Ken Loach and Whoopi Goldberg including five performances at English Theatre Berlin | International Performing Arts Center in October 2013.

 “A strikingly gentle, humane and emotive consideration of the experience of an artist living and working in the diaspora.” | The Herald

“Emotionally charged theatrical experiment.” | The Stage

“An unusually vivid celebration of theatre’s liveness.” | The Guardian

“As he heightens the audience’s sense of complicity in his art, Soleimanpour makes a quietly persuasive case for theatre’s special power to foster empathy.” | London Evening Standard

Nassim Soleimanpour (playwright and performer) is an independent multidisciplinary theater maker best known for his multi award-winning play White Rabbit Red Rabbit. Nassim’s play Blank premiered in the UK at the Bush Theatre’s RADAR festival in 2015, also playing in Amsterdam and Utrecht with further performances all over the world including at the Edinburgh Fringe and in Argentina, Australia and India. Further plays include Blind Hamlet which premiered at LIFT Festival 2014 prior to a UK tour and productions in Bucharest and Copenhagen. Nassim now lives in Berlin and has been commissioned to write a new play for Teater Momentum (Denmark).
Pics: David Monteith-Hodge / Studio Doug