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

The End is Near

Playfully moving between ideas of self and other, character and performer, human and superhuman, real and fantasy, language and non-language, understanding and non-understanding, The End Is Near unmasks the many guises of the modern day hero in a new show from BLOOM! that is equal parts profound and trashy.

New. Better. Tastier.

Using only organically sourced ingredients.

May contain traces of nuts.

The End is Near by BLOOM! was a chance to create the soundtrack for a new SuperHero, something grand, serious, comic and trashy at the same time. Travelling from plastic orchestral sounds trough hard rock to arrive into pretty distorted noises, The End is Near music comments on the stereotype music of action films and our expectations on what a SuperHero music should sound like. This project was a unique chance to step aside my comfort zone and explore a totally new genre where I was able to play around those ideas and bring them to new dimensions.

‘BLOOM!’s piece is a witty game, its images – without any sloppy pathos – can talk about deep human contents.’ Tamás Halász

‘A clean, pleasingly unpredictable take on the modern day super hero, which was by turns funny and astute.’ Londonist

Created and Performed by: Dányi Voktória, Csaba Molnar, Igor Urzelai, Moreno Solinas, Tamara Szofia Vadas
Music: Alberto Ruiz Soler
Lighting Design: Seth Rook Williams
Costume Consultant: Kate Forbes
Costume Making: Gabriella Szerencsés
Production and Tour Manager: Rácz Anikó
With thanks to: Pablo Barrio Fernández, Shay Hamias & everyone who helped us on the way