With motherhood as a point of departure, Aftermath explores the sense that ‘something is over’ and questions what comes next.
During the making of the show, Recacha carried out an outreach programme for mothers and their small children, immersing herself again in that period of early childcare and its impact on the mother’s sense of identity and agency.
Inspired by Recacha’s own experience of motherhood and the social isolation that can accompany it, Aftermath questions what it means to live in a ‘post-everything’ world – post- feminist, post-truth and now post-time. The show imagines a world where the characters are dead, where change is no longer an option and no future awaits. Is motivation possible in such a world?
The audience is seated within the performers’ arena. They are part of the dancers’ journey and yet they are not directly involved. Aftermath comments on our reluctance to act in the face of certain situations, and on the normality of this passivity.
“giddy, ridiculous and amusing two-hander”
“Eleanor Sikorski and Charlotte Maclean weave patterns of wit and absurdity in Eva Recacha’s quietly radical show”
“The pair heat up to a giddy, edge-of-madness energy reminiscent of early French and Saunders.” – The Guardian
“It’s perfect casting with Sikorski as the acerbic, calculating wit and Mclean as the mercurial creative force; their two trajectories start on a fragile thread and fuse together to the point of familiarity and mutual admiration.”
“With its cross between The Private Life Of and Monty Python, Aftermath is as much an exploration of ennui as a picture of the divergent elements of artistic endeavour.” –
Writing About Dance
Coreography: Eva Recacha in collaboration with Charlotte Mclean and Eleanor Sikorski.
Sound design: Alberto Ruiz Soler
Lighting Design: Jackie Shemesh
Set and Costume design: KASPERSHOPHIE
Performance: Charlotte Mclean and Eleanor Sikorski
Co-writers: Charlotte Mclean, Eleanor Sikorski, Eva Recacha
Dramaturg: Simon Ellis
Production Manager: Emma Wenlock-Bolt
Producer: Johnny O’Reilly
Sound artist and composer
Kitty 2012 could be the brand of a cosmetic article or a name of a magazine for teenagers, a household appliance or even a title of a porn movie. In this case Kitty 2012 is a dance performance.
The events of Kitty 2012 appear in a post-apocalyptic atmosphere created by its music, but are searching for their place and meaning. Thousands of meanings and solutions surface, but there’s nothing to understand about Kitty 2012.
I created 4.540.000.000 Km, the sound composition, during 2009 as a personal exploration. I wanted to listen to a soundscape that develops slowly through time and represents a post apocalyptic world. My aim was to transfer this feeling through sound, guiding the audience to what is left in this new space we inhabit. A couple of years later Csaba Molnar listened to this work and decided to use it as part of Kitty 2012.
‘I found that the piece became stronger and stronger,The schizophrenic parts all held together darkly and with intensity by Ruiz Soler’s soundtrack, keeping the dream-sense alive.’ Fernanda Muñoz-Newsome
Choreographers: Csaba Molnar & Marco Torrice
Creative partners and interpreters: Garai Julia, Csaba Molnar, Marco Torrice, Imre Vass
Sound Composer: Alberto Ruiz Soler
Light: Kata Dezsi
Costumes: Cabas Molinari
Aerowaves 2013 priority company