Aftermath is a duet set in limbo, where two women suffer from eternal boredom and lack of acknowledgement. Absurd and humorous, the work is an ode pointlessness.

The piece is conceived as a means to relate to current issues such as the idea of ‘Post-everything’ (post-feminism, post-truth, post-idealism, post-humanism) and what that means to us as individuals with particular experiences of value, justice, agency, or the lack of those.
 In ‘an imagined world’ were the only option is to be resilient, what is our motivation for being so? Is motivation possible in a post-truth era?

Aftermath substitutes the idea of post-truth for the idea of post-time. The characters are dead. No change is possible. No future is waiting. And yet we wish to do something, but what?

The work emerges from experiencing motherhood and the social isolation that can come with it. The piece is not about motherhood, rather about that sense that ‘something is over’, and what then?

Read The Guardian Review of Aftermath’s premiere at the LBS at Sadler’s Well here:



Easy Rider

Easy Rider reflects upon faith, tradition and delusion. Eva Recacha looks at the human compulsion to engage with superstitious beliefs and practices in the pursuit of happiness. Creating a concoction of religion, customs and self-help manuals. In Easy Rider, Eva draws on first-hand observations of ritualistic behaviour in her native Spain. Much like her Place Prize Finals 2013 piece, Easy Rider is a theatrical rite, an unraveling of the pure essence of our need to belong. It reflects our own beliefs and passions in a raw and haunting way.


The Wishing Well


The Wishing Well is a space inhabited with dreams. For the person who enters it, it can be full of possibilitites or full of rejection. In it, one can devise a thousand strategies to be heard, but in the end, one can only hope.
Place Prize Finalist and winner of the Audience prize on three occasions.


Begin to Begin

Eva Recacha’s Begin to Begin: a piece about dead ends sets in motion a rhyme about dying, playing with the idea of mortality to make it profound, yet unfrightening.

The work is based on a dirge; a song for the dead. Recacha creates her own mourning song based on the nonsensical familiar rhyme Michael Finnegan. Michael becomes the figure we mourn, and with him, memories that belong to our childhood are buried and left behind. Michael is a celebration of all that we once had, and his funeral must be joyous, singular and repeated for each of us. (more…)

Story Lines

Story Lines is a dance work that blends movement and text, shifting between the ordinary and the surreal by means of rhythm. The work presents two individuals moving through different loops of material. As if caught in time, they travel in endless circles going back to situations already visited. The rhythmic patterns create a playful platform for them to develop absurd strings of events.
Performed with impeccable precision by dancers Lola Maury and Antonio de la Fe, and drawing on influences such as Beckett, Ionesco, and the films of Buster Keaton, Story Lines indulges in the joy of physical comedy mixed with theatre of the Absurd, in a context that gets darker as the piece goes on.