Presented at Panta Theatre in Caen, France featuring a French cast and subsequently at the International Festival Dimitria (Thessaloniki) and the Piraeus Municipal Theatre featuring a Greek cast
An allegory about the place of women, the relations of the two sexes and the clash between Nature and Civilization in today’s society. The performance draws from the Beauty and the Beast, -only this time the Beast in within the Beauty!- and as the piece evolves you are invited to confront the darkest side on earth: your own Beast.

Elli Papakonstantinou brings her directorial daring to bear on the Touching the Bottom of the Sea, in which, as she notes, “The lead role is played by the home, a ‘living’ home/ set which is gradually deconstructed to reveal the clash between the reality of survival and the no-place dead-end of the straitened bourgeois world”.

Sous l’oiel d’ Oedipe (Under the Eye of Oedipus), from the french director and playwright Joël Jouanneau, an ironic title given that his Oedipus blinds himself with a razor (onstage) just 20 minutes into this three-hour play. Jouanneau borrows from Sophocles and Euripides for his fairly straightforward retelling of the history of Oedipus. Jouanneau’s original contribution to the well-worn tale is a very sympathetic portrait of Oedipus, who comes to regret his eye-gouging.

Based on radio-play Three Women by Sylvia Plath the cast of four in a kitchen, where Plath’s most crucial life episodes happened, “trapped” with sensors; live sound composition is interwoven dynamically with cooking, text, dance. The performers cook throughout the performance and at the end, they serve and join their audience for dinner.

Richard and his wife Corinne have moved to the country to start a new life, but for Richard this also means kicking his crippling drug addiction. It gradually emerges that all is not as it seems, and so begins a chain of events that sees their rural idyll smashed by adultery and alienation.This is the first staging The Country by Martin Crimp in Greece.

In 1999, Border Crossings collaborated with Athlon (Greece) to commission a new version of Aeschylus SUPPLIANTS from South African writer Tamantha Hammerschlag, with the support of the Arts Council. Directed by Elli Papakonstantinou, the play showed a powerful engagement with war and refugees, telling the story of the fifty daughters of Danaus who flee from persecution, only to find themselves subjected to enforced marriages. Tamntha Hammerschlag went on to develop the play further in South Africa, working with refugee women there.

bordercrossings.org.uk

The performance drew material directly from the workshop of the Fourth Summer Academy of the National Theatre and at the same time was the application and continuation of the operating mechanisms developed in the performances with the general title: ODC… after Homer. Main axis is the pursuit of a new narrative/storytelling operation through the Homeric”Odyssey”. During the workshop has been developed the narrative/storytelling operation in pre-theatre texts interpreted by musicians in parallel route with the actors.

This piece is a comedy musical for two, ‘a musical theatre in a nutshell’, while even cars come on stage! With today’s New York as a background, this hilarious, but at times touching, story by Neil Simon narrates the birth of a great love between the composer Vernon Gersch and lyricist Sonia Walsk. He is charming, successful, wealthy and he has an Oscar. She is miserable, charming, clumsy, dressed in theater costumes but stubborn and confident of her talent. Sonia’s dream was to work with the famous composer. Proving once again the ancient theory that “The opposites are attracted”, this thrilling story of laughter and music, ends up in the unexpected finale.

In 1999, Border Crossings collaborated with Athlon (Greece) to commission a new version of Aeschylus SUPPLIANTS from South African writer Tamantha Hammerschlag, with the support of the Arts Council. Directed by Elli Papakonstantinou, the play showed a powerful engagement with war and refugees, telling the story of the fifty daughters of Danaus who flee from persecution, only to find themselves subjected to enforced marriages. Tamntha Hammerschlag went on to develop the play further in South Africa, working with refugee women there.

bordercrossings.org.uk