A G A M E O F Y O U_ O N T R O E R E N D G O E D

PA R D O N/ I N C U F F S_ S K a G e N

T h E G R E AT D Ow N h I l l J O U R N E Y O F l I T T l E T O MM Y_ B O R I S VA N S E V E R E N & J O N A S V E R M E U l E N

O NT R A C K_ T R I S T E R O

A R E A S O NT O TA l K _ S A C h l I G h O l A M A l I z A D

T h E h I S T O R Y O F T h E w O R l D B A S E D O N B A N A l I T I E S_ KO P E R G I E T E R Y

G O M A A R T R I l O G Y_ U lT I M A T h U l E

This brochure contains the complete program of the third

edition of Big in Belgium: a selection of modern Flemish work

put together as a showcase at the Edinburgh Festival Fringe.

Just like the previous editions in the past two years, the work

is divided between Summerhall and Traverse.

Both former editions, which contained hit shows like SKaGeN’s

BigMouth and Ontroerend Goed’s Sirens, have led to over 100

worldwide engagements for the companies involved. we could

not be more proud. The selected Flemish theatre works have

proven to be adored by a widespread community of both

theatre professionals looking for new work at the Fringe and

international audiences.

Both SKaGeN & Ontroerend Goed are back this year with new

work in Traverse: SKaGeN presents Pardon / In Cuffs about

the complex relationship between culprit and judge, while

Ontroerend Goed presents the final part of its Personal Trilogy:

A Game of You (previous parts The Smile off Your Face and

Internal were some of the company’s greatest hits at the

Fringe).

This year we tried to feature the Flemish young companies who

we believe are on the verge of an international breakthrough.

whether they specialize in puppetry (Ultima Thule – Gomaar

Trilogy), rock-opera (The Great Downhill Journey of little

Tommy), contemporary new writing (Tristero – On Track) or

experimental cross-cultural research (Sachli Gholamalizad –

A Reason to Talk), each of them contain essential elements

that make up the core of Flemish theatre today: originality,

strong craftsmenship and artistic vision, freedom of both

form and content supported by a creation process that allows

sufficient time to take the show where it needs to go. Enjoy.

Big in Belgium was created byProgram David Bauwens / Production Richard Jordan, Tammy Dale, Elaine Innes /

Communication & Finances David Bauwens & wim Smet / Production on location Jo Mackie / Technical Asssistance JB & Captain / Press Martin Shippen / Design Nick Mattan /

Coproduction Big in Belgium, Richard Jordan Productions, Theatre Royal Plymouth, Theater aan zee & Summerhall / Special Thanks to: Simon Stokes, hans Rabaey & Theater aan zee, all

artists & companies involved, Summerhall & Traverse, all technicians involved & the Edinburgh audiences. Supported by the Flemish goverment

T R I S T E R O An old-fashioned exhibition room with fitted carpet, various things on panels and in display cases. At the back sits an attendant, while in the middle a living being called Kristien De Proost attracts all the attention. She runs and keeps on running, as if her life depended on it. In the meantime she describes her insides and her outside. From her smallest toe to her biggest fantasies. From freshly- washed armpits to heavy sweat, she tries to summarise her present state.

On Track is not just some flabby confessional monologue, but a real ‘tour de force’. **** De Standaard

De Proost’s piece is a gem: the acting, the script and the humour. Brazen, sharp, witty and recognisable, the way theatre should more often be. **** Cobra

7 / 8 / 1 1 / 1 2 / 1 4 / 1 5 / 1 8 / 1 9 / 2 1 / 2 2 / 2 5 / 2 6 / 2 8 / 2 9 / 3 0 A u g u s t

S t a r t s h o w 2 0 : 3 0

7 5 m i n u t e s S U M M E R h A l la t M a i n h a l l

Tristero, Big in Belgium, Richard Jordan Productions, Theatre Royal Plymouth in association with Summerhall

BY K r i s t i e n D e P r o o s t I N C O l l ABORAT I O N w I T h Yo u r i D i r k x & Pe t e r V a n d e n b emp t TEx T K r i s t i e n D e P r o o s t PER F ORMANC E K r i s t i e n D e P r o o s t & M a r k D e P r o o s t SCENOGRAPhY & C O S TUMES M a r i e S z e r s n o v i c z l I G h T D E S I G N h a r r y C o l e MAKE -UP & h EARDR E S S D E S I G N M a r i e M e s s i e n TEChN I C I A N S B a r t l u y p a e r t & Tom B r uw i e r SE T C ONS TRUC T I O N B a r t l u y p a e r t , wo u t J a n s s e n s & Ko e n R a e s TRA I l E R & V I D E O CAP TAT I O N M a t h i a s R u e l l e PhOTOGRAPhY M i r j am D e v r i e n d t & Yo u r i D i r k x PRODUC T I O N Tr i s t e r o COPRODUC T I O N K a a i t h e a t e r & C amp o

K O P E R G I E T E R Y Philip’s mother is dangerously ill. he decides to look after her the very last months of her life. Starting from run-of-the-mill situations and objects, the young man embarks on a quirky voyage through his mother’s past, and that of the world. By and with Titus De Voogdt, aka Vincent Bourg in the renowned BBC series The Missing.

7 / 8 / 9 / 1 0 / 1 1 / 1 2 / 1 3 / 1 4 A u g u s t

S t a r t s h o w 1 7 : 0 5

8 0 m i n u t e s S U M M E R h A l la t O l d l a b

Kopergietery, Big in Belgium, Richard Jordan Productions, Theatre Royal Plymouth in association with Summerhall

“A fast-paced gem about having to say goodbye to your nearest and dearest.. and so full of quick-witted, comical play that it yields dazzling theatre”. **** KNACK

“(painful) jokes, sadness, romance, introspection, poignancy… are strung together in a masterly, perfectly natural fashion.” ****1/2 DE MORGEN

TExT T i t u s D e Vo o g d t , J o h a n D e Sme t D I R E C TOR J o h a n D e Sme t w I Th T i t u s D e Vo o g d t COMPOS I T I O N

G e o f f r e y B u r t o n l I V E MUS I C G e o f f r e y B u r t o n / B o r i s z e e b r o e k SC ENOGRAPhY J o h a n D e Sme t , T i t u s D e Vo o g d t , J e r o e n D o i s e , K a r e l C l emm i n c k , S e b a s t i e n Va n h u f f e l l I G h T D E S I G N J e r o e n D o i s e SOUND

Ko r n e e l M o r e a u x TEChN I q U E J e r o e n D o i s e , Ko r n e e l M o r e a u x , S e b a s t i e n Va n h u f f e l

B O R I S V A N S E V E R E N & J O N A S V E R M E U l E N The Great Downhill Journey Of little Tommy is about Tommy who leaves his safe town up on the hill to see the sea. On his way down he meets everyone whom for some reason isn’t allowed or doesn’t belong in the city. A journey through music history that gives the floor to the outsiders of society. A coming of age performance told in songs and live drawings.

‘Theatre as it should be... pure sex, drugs & rock’n roll. One simple storyline - a boy looking for the sea - functions as a thread upon which the performers hang their funny disturbed scenes/songs.’ Knack.be

7 / 8 / 9 / 1 0 / 1 2 / 1 3 / 1 4 / 1 5 / 1 6 / 1 7 / 1 9 / 2 0 / 2 1 / 2 2 / 2 3 / 2 4 / 2 6 / 2 7 / 2 8 / 2 9 / 3 0A u g u s t

S t a r t s h o w 2 2 : 3 0

6 5 m i n u t e s S U M M E R h A l la t M a i n h a l l

Big in Belgium, Richard Jordan Productions, Theater aan zee, Theatre Royal Plymouth in association with Summerhall

T E x T, C ONC E P T: J o n a s Ve rme u l e n & B o r i s V a n s e v e r e n PER FORMANC E , V O CA l , G U I TA R , K E YS J o n a s Ve rme u l e n PER F ORMANC E , V O CA l , G U I TA R B o r i s V a n s e v e r e n BASS GU I TA R P i e t e r - J a n J a n s s e n DRUMS T h oma s D e c k x l I V E D RAw I N G S S a r a h Yu z e e b r o e k /M a i l y B e y r e n s COACh I N G P i e t e r - J a n D e w y n g a e r t SOUND J o n a s C a s t e l i j n s l I G h T D E S I G N , S U B T I T l E S Tom D e R o y

S A C h l I G h O l A M A l I z A D Sachli Gholamalizad, a young Belgian actress of Iranian descent, questions her troubled relationship with her mother. She dives into her families history and confronts her mother. The actress blends various sources into an unruly performance: self-registered tapes, diary excerpts, memories, novels and soundscapes.

The many layers and contradictions in the lives of these women are evoked on stage throughout the use of different media.

Is it a story of extremes, proper or bi-cultural upbringing or is it simply the story of all mothers and daughters?

7 / 8 / 9 / 1 0 / 1 2 / 1 3 / 1 4 / 1 5 / 1 6 / 1 7 / 1 9 / 2 0 / 2 1 / 2 2 / 2 3 / 2 4 / 2 7 / 2 8 / 2 9 / 3 0A u g u s t

S t a r t s h o w 1 3 : 5 0

7 5 m i n u t e s S U M M E R h A l la t C a i r n s l e c t u r e T h e a t r e

Kunst z, Big in Belgium, Richard Jordan Productions, Theatre Royal Plymouth in association with Summerhall

CONC E P T AND P E R F ORMANC E S a c h l i G h o l ama l i z a d SCENOGRAPhY AND T E ChN I q U E S t e v e n B r y s COACh G r e e t V i s s e r s SOUNDSCAP E A n d r ew C l a e s PRODUC T I O N k u n s t z MANAG EMEN T: S a s k i a l i é n a r d COPRODUC T I O N M e s t i z o A r t s Fe s t i v a l T hANKS TO S h o k a t A rmo n , B a r t B a e l e , J u l i e D e C l e r c q , z e y n a b h amed a n i M o j a r a d , E h s a n h emma t , S e n j a n J a n s e n , B a r t V a n N u y s w I Th T h E SUPPORT O F t h e g o v e r nme n t o f F l a n d e r s & t h e c i t y o f A n twe r p

“In ’A Reason to Talk’ the performer searches - with her back turned at the audience- for the truth about her family leaving Iran. The war buzzes in the background, but Gholamalizad’s story has a more personal approach: the strategies an unrooted person uses to keep himself standing. The distant format - three screens, the actrice communicating through webcam - sharply displays a deep desire for closeness.“ De Morgen

U lT I M A T h U l E Everything Always Returns.

Gomaar, son of a farmer, behind the arse of a horse. Gomaar college student in the era of Che. Gomaar divorced, still driving his Norton.

Three shows, one life. The life of Gomaar.

GOMAARtrilogy, written by wim De wulf for theatre company Ultima Thule, is a funny and cathartic portrait of life against the background of a changing Flanders. Full of love but not without irony. A deeply human and universal folk tale in which the grievances of life are joined with the poetic panorama of a village, a city, a family.

wR I T E R AND D I R E C TOR w im D e wu l f PER F ORMANC E E l s Tr i o , Ku r t D e f r a n c q & S v e n R o n s i j n SCENOGRAPhY & PUPP E T S

F i l i p Pe e t e r s MUS I C M a u r o Paw l ow s k i , N i l s D e C a s t e r & Y v e s M e e r s s c h a e r t COS TUMES V i o l e t t e Va n h o o r e b e k e , J u d i t h Va n h e r c k , C h r i s S n i k & E v e l y n e M e e r s s c h a u t TEChN I CA l S UPPORT R u p e r t D e f o s s e z w I Th T h E SUPPORT O F t h e g o v e r nme n t o f F l a n d e r s , t h e c i t y o f G h e n t , p r o v i n c e o f E a s t F l a n d e r s & G r e e n Tr a c k PhOTO S M a a i k e B u y s

hEAD OVER hEElS7 / 8 / 12 / 15 / 19 / 22 / 26 August (65 minutes)

lOOK whO’S hERE9 / 13 / 16 / 20 / 23 / 27 / 29 / 30 August (75 minutes)

AlwAYS SOMEThING wRONG10 / 14 / 17 / 21 / 24 / 28 August (80 minutes)

Although it’s nicer to see the three shows, it’s not necessary. You can enjoy just one or two parts of the trilogy as well.

S t a r t s h o w 1 5 : 2 0

S U M M E R h A l la t O l d l a b

Ultima Thule, Big in Belgium, Richard Jordan Productions, Theatre Royal Plymouth in association with Summerhall

‘A trilogy which gives the spectator the feeling of having leafed through an album full of memories of someone whom you’ve come to know so well by now. A cycle to cherish.’ **** liv laveyne, Knack

O N T R O E R E N D G O E DAfter The Smile Off Your Face & Internal, we present to you the third part of our trilogy.

For those who don’t know us yet there’s seven of us craving to spend some time with you to get under your skin, if possible to get to know you better than we know ourselves some say we’re forward, inquisitive, manipulative or down-right evil.

Some claim we can’t be trusted.

Rest assured, they are wrong. we’re players and our intentions are always sincere.

Our sole purpose in unreal life is to let you find out who you might be and get entangled in the game you play

You’ll be safe. we’re doing it for you.

2 5 / 2 6 / 2 7 / 2 8 / 2 9 / 3 0 A u g u s t

S t a r t s h o w 1 4 : 0 0 , 1 4 : 3 0 1 5 : 0 0 , 1 5 : 3 0 1 6 : 0 0 , 1 6 : 3 0 1 9 : 0 0 , 1 9 : 3 0 2 0 : 0 0 , 2 0 : 3 0 2 1 : 0 0 , 2 1 : 3 0

3 0 m i n u t e s T R A V E R S E

BAC, Richard Jordan Productions, BIG IN BElGIUM In association with Theatre Royal Plymouth with support of Vooruit & National Theatre Studio

6 D A Y S O N lY

“In ‘A Game of You’, Ontroerend Goed makes you feel how uncomfortable it is when your mirror image eludes you.“**** De Morgen

“...a genuinely unsettling experience, and the best advice I can give is: be yourself, and don’t pick your nose.“*** The Guardian – lyn Gardner

D IR E C T E D b y A l e x a n d e r D e v r i e n d t PER F ORMANC E A l e x a n d e r D e v r i e n d t , J o e r i S m e t , C h a r l o t t e D e B r u y n e l i s a S c h am l é , J o e r i h e e g s t r a & K a r e n V a n G i n d e r a c h t e r TEChN I C I A N B a b e t t e P o n c e l e t w I Th T h E SUPPORT O F t h e F l e m i s h G o v e r n e m e n t , t h e P r o v i n c e o f E a s t - F l a n d e r s a n d t h e c i t y o f G h e n t

S K a G e N Much is at stake for those who’ve just been caught in the act: either a judge-ment will be passed or they’ll have a lucky escape.

From the creators of BigMouth and Smallwar (Festival 2014), and inspired by the documentaries of award- winning Magnum photographer Raymond Depardon, Pardon / In Cuffs unravels the complex relationship between culprit and judge.

Through a series of tense exchanges on one side sits a criminal: fighting, lying, begging. On the other side, a public prosecutor in their nightly routine: representing society, reaching verdicts. A story of ‘little people’ clashing with massive structures.

7 / 8 / 9 / 1 0 / 1 2 / 1 3 / 1 4 / 1 5 / 1 6 / 1 7 / 1 9 / 2 0 / 2 1 / 2 2 / 2 3 / 2 4 / 2 6 / 2 7 / 2 8 / 2 9 / 3 0A u g u s t

Sta r t show see ove rv i ew

8 0 m i n u t e s T R A V E R S E

SKaGeN, Big in Belgium, Richard Jordan Productions& Theatre Royal Plymouth

CONC EP T V a l e n t i j n D h a e n e n s COS TUME D E S I G N E R B a r b a r a D e l a e r e SE T D E S I G N E R S K a G e N CAS T V a l e n t i j n D h a e n e n s , K o r n e e l h am e r s , C l a r a v a n d e n B r o e k PRODUC T I O N A S S I S TAN T B o b C o r n e t TEChN I C I A N J e r o e n w u y t s GEN ERA l MANAG ER S a s k i a l i é n a r d PhOTO S D a v i d V a n M i e g h em SKaG eN I S F UND ED B Y t h e F l e m i s h g o v e r n m e n t

“SKaGeN... a distinct and unusual voice in European theatre.“ **** Daily Telegraph

“Pardon / In Cuffs offers ample food for thought, is consistent and the acting is delightful. This tiny gem reminds us that lady luck does not smile on everyone in today’s society.“ Cutting Edge

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ON TRACK

SUMMERhAll MAIN hAll - 75 min

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A G A M E O F Y O U_ O N T R O E R E N D G O E D

PA R D O N/ I N C U F F S_ S K a G e N

T h E G R E AT D Ow N h I l l J O U R N E Y O F l I T T l E T O MM Y_ B O R I S VA N S E V E R E N & J O N A S V E R M E U l E N

O NT R A C K_ T R I S T E R O

A R E A S O NT O TA l K _ S A C h l I G h O l A M A l I z A D

T h E h I S T O R Y O F T h E w O R l D B A S E D O N B A N A l I T I E S_ KO P E R G I E T E R Y

G O M A A R T R I l O G Y_ U lT I M A T h U l E