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 showRecacha 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

Empire of a faun imaginary

Something between a prehistoric opera and an eerie ballet, Empire of a Faun Imaginary addresses feelings of meaninglessness and futility, the inadequate devices we have to navigate them, and the fantasies this generates. Yearning for transformation and new futures, Empire of a Faun Imaginary is a melancholic world in search of the miraculous, that asks: How can we go on, and how can we dream again? The piece combines vocal work, visual art, and bodies in movement to explore our tussle with a contradictory, messy, and uncertain world, where horror and beauty carry on a strange dialogue.

Artistic director: Simone Mousset

Performers: Tasha Hess-Neustadt, Lewys Holt, Eevi Kinnunen, Hannah Parsons, with Jorge Motel / Carine Baccega / Louis Chevalier

Dramaturg: Lou Cope

Artistic companion: Neil Callaghan

Cultural theory consultant: Macon Holt

Sound: Alberto Ruiz Soler

Voice work and vocal composition: Jamie McCarthy

Lighting: Seth Rook Williams

Stage and Costumes: Lydia Sonderegger

Stage and costumes collaboration: Ariane Koziolek, Anne-Sophie Raemy, Leonie Wienandts

Puppet creation: Sophie Ruth Donaldson, Emilie Mathieu

Wigmaker (tights): Birte Meier

Tailoring: Cony Jegerlehner

Producer: Vasanthi Argouin

Production and stage manager: Bryony Byrne

Stage manager: Alberto Ruiz Soler

Assistant stage manager: Jorge Motel

Company management: Cathy Modert

Development in France: Les Indépendances

Attachée de presse (France): Murielle Richard

Production: Simone Mousset Projects

Coproduction: Escher Theater (LU) ; Esch 2022 Capitale européenne de la Culture (LU) ; POLE-SUD, Centre de Développement Chorégraphique National, Strasbourg (FR) ; Centre Chorégraphique National de Nantes (FR) ; KLAP Maison pour la danse (FR) ; Les Hivernales – CDCN d’Avignon (FR) ; Atelier de Paris / CDCN (FR) ; Centre Chorégraphique National de Rillieux-la-Pape, direction Yuval PICK (FR)