A celebration of human rights and freedom
A cry against totalitarianism
The most important human right is the right to life itself. And then prohibition to torture follows. No human being could argue the opposite. But what happens when the wrong people are found – or even elected – in the wrong positions?
Fermín Cabal’s play is a haunting and compelling piece of art about humanity’s brutal ability to cause pain and horror. Tejas Verdes, an idyllic seaside resort is turned into a torture camp during General Pinochet’s dictatorship in Chile. The play focuses on the story of one woman, Colorina, who comes to symbolise the 3,000 who were violently killed during the Pinochet regime that lasted from 1973 to 1990.
Forty-four years after the coup, we felt the need to tell this story again. Violating vital human rights should not be acceptable. Forty-four years later, we wonder whether our world has changed much.
The time is the present – or even the future? – and the place could be any country.
After 6 sold-out shows in Tanner Street’s Warehouse as part of Ugly Duck’s new creative season in April 2017, Tejas Verdes was invited to be part of the Women and War Festival: EXODUS in Streatham Hill’s Old Theatre in July 2017.
★★★★ “With Tejas Verdes, Collide Theatre have again put together and presented a first-rate show which works on many levels. A fascinating and thought-provoking piece!” LondonTheatre1
★★★★★ “The acting by every cast member is phenomenal. This production’s stripped-back approach is ideal, treating the text with sensitivity and never tipping over into melodrama.Tejas Verdes was important in 2004, but it is no less important now – and this muted production, which lets Cabal’s work take centre-stage, easily lives up to its task.” PlaysToSee
★★★★ “Excellent! The acting is impressively strong and Tejas Verdes succeeds entirely in its outcry for the respect of human rights!” Everything Theatre
★★★★ “An excellent, pitch-perfect production. It it both brutal and beautiful, and never maudlin. In such close quarters, Louizou and her talented cast confronts us with the pain and suffering; and pose uncomfortable questions about how, as individual and society, we forbear and acquiesce to such abhorrent deeds. A challenging experience that offers both grim portent and the hope of human perseverance – but it is up to us to decide which…” Performance Reviewed
“The performance is intensely intimate and moving as a strong cast of actors speak from among the audience. The words are poetic, direct, and engaging. They never fail to hold our attention.” The British Theatre Guide
“Director Emily Louizou has found the perfect space for Tejas Verdes… Louizou’s promenade staging works to great effect in conveying the sense of a disturbing visit to a shadowy museum of prison cells.” A Younger Theatre
“Watching Emily Louizou’s production, the effort undertaken to remain cognisant of the lives lost and trauma lived is almost palpable, and it is this fact that grounds the piece and makes it what it is: frankly, breath-taking.” SAVAGE
IMAGES from our version in Streatham Hill’s Abandoned Theatre in July 2017:
Susan Hoffman is a London based actor, occasional writer and founding member of theatre company Rock Paper Scissors. As a recent graduate of Arts Educational Schools Susan seeks to express her joie de vivre in moderately eccentric ways in acting, dancing and when doing groceries. Trained in stage combat, ballroom, salsa and open to freestyle at any given time of the day she has a particular interest in creating work that is bold, relevant and silly-serious. After sporadically fire-breathing in a park there is nothing in the world she loves more than meeting new people and having a good old chat. She starred in With or without EU directed by Hayley Cusick at the Bread and Roses Theatre, which she co-wrote, and in last year’s Collide production of Hamletmachine.
Hayley Hirsch is from Los Angeles, California and is currently receiving an M.A. in Ensemble Theatre at Rose Bruford College. She received her B.A. in Theatre from the University of Southern California and studied at the British American Drama Academy. Previous work in Los Angeles Theatre include The Ebell Playwright’s prize, Not.Just.Theatre.’s ‘Hold Me Tight,’ and Lifeworks’ ‘Dog Sees God.’ She worked and performed as an aerialist at the Trapeze School New York in Santa Monica. She is also a member of The Echo Theatre Company as an actor and assistant director.
Ava Pickett graduated from Middlesex University in 2015 and has since appeared in several productions including “Shards” and “The Iliad” at The Almeida Theatre and “I’m fine” at Theatre Royal Stratford East. She’s interested in Politics and Shakespeare and is a co founder of Fictive Theatre.
Frances Keyton studied French at UCL before pursuing a postgraduate diploma at Drama Studio London. She has toured with NYT, NYTW and with bilingual troupe Line Theatre in France. She has just finished a run at The Cockpit Theatre and is represented by Regan Management.
Evelyn Lockley trained at Arts Educational Schools. Originally from Dublin, she is now based in London and working on both film and theatre. Previous credits include: Gingerbread (Almeida Theatre), Desdemona in Othello (Barons Court Theatre), Glassboys (Arcola Theatre), Iliad (Almeida Theatre).
THE CREATIVE TEAM
Emily Louizou (Director) is currently training on the MFA Theatre Directing programme at Birkbeck, University of London. Prior to this, she completed her BA English at UCL where she directed, choreographed and produced more than 10 plays. Recent directing credits include: Heiner Muller’s Hamletmachine (Site-specific/ Garage, Ugly Duck), Sarah Kane’s 4.48 Psychosis (Site-specific/ Crypt St Pancras, 2015), Euripides’ Bacchae (NSDF 2015, British Museum, Tour in Greece), Eugene Ionesco’s The Bald Soprano (Camden Fringe 2015), world premiere of Gingerbread (Almeida Theatre, August 2015), Unknown (Bloomsbury Theatre 2014). http://www.emilylouizou.com
David Denyer (Music Composer) is an award-winning composer for theatre, screen and concert hall. He graduated last year with a distinction on his MA in Composition from the Royal College of Music in London. His recent work includes Hamletmachine (Garage, Ugly Duck), 4.48 Psychosis (Crypt Gallery, London), Streetcar Named Desire (London, June 2015), Bacchae (London and Intenrational Tour, 2015). His passion for music and his compositional style are rooted in his deep-seated desire to disturb, unsettle, and confuse his audience without mercy.
Adelaide Green (Design) studied stage management and technical theatre at The Academy of Live and Recorded Arts, specialising in Design. She then went on to Study Theatre Design at UAL: Wimbledon College of Art where she is currently in her second year. Her theatre credits include: costume design for You Can Still Make a Killing, A Midsummer Night’s Dream (ALRA Theatre), costume and set design for Alice, How Curious You Are… (ALRA Theatre), Tuesday (White Bear Theatre). Her Film Credits Include: design assistant for MARGAM (Aldemar Productions)
Ioli Filippakopoulou (Movement) is a movement director and performer based in London. Ioli has an MA in Movement Studies from the Royal Central School of Speech and Drama and currently she is a PhD candidate at Central Saint Martins, London. Since graduating in 2012, she has worked professionally in theatre and film in both Greece and the UK. Recent work includes: Movement Director for Hamletmachine (Garage, Ugly Duck), After the End (University of Exeter), Assistant Movement Director for Posture in Dante’s Comedy (R&D project, Drama Centre), Movement Director for Splinter (Camden People’s Theatre).
Guido Garcia (Lighting Design) trained as an actor in his home country Uruguay, before studying for a multimedia degree at the Universidad Catolica del Uruguay. He worked in Latin America until coming to the UK in late 2014. His London credits in lighting design include Illegals: The Game Show (Waterloo East Theatre), How To Make Money From Art (Camden Fringe), Scarborough (Courtyard Theatre) and Lottery (New Diorama).
Rachel Horowitz (Producer) is passionate about working with the next generation of theatre makers. Trained as a Facilitator, Writer and Stage Manager, she has worked with The National Youth Theatre (Epic Stages, Rep Season at Ambassadors Theatre) The Pumpkin Players (Brainchild Festival, Hansel and Gretel at Chiswick House) and Hackney Empire (TWIST Theatre Company, SING OUT!).
Alexandra Karavia (Stage Manager/ Production Assistant) has graduated from the University of Hull where she did a BA in Drama and Theatre Practice. She has experience in various production roles including Stage Manager, Props Maker, Costume Supervisor as well as Front of House and Box Office duties. She was Assistant Stage Manager in Out of Joint’s Crouch, Touch, Pause, Engage (Donald Roy Theatre, 2014) and Rash Dash’s We Want You to Watch (Donald Roy Theatre, 2015). She has also performed at the Edinburgh Fringe Festival with Z Theatre Company (August 2014). email@example.com
Cara Evans (Assistant Designer) is a scenographer and artist based in London. This is Cara’s second production with Collide Theatre. Having completed a Fine Art Foundation at the University for Creative Arts, she is in her first year at the Royal Central School of Speech and Drama studying Design for Stage. As a member of the National Youth Theatre, she trained in scenic carpentry and worked in stage management on their West End and Arcola Productions. Currently she is part of the Royal Court Theatre’s young script panel. Her interests lie in new writing, mime, filmmaking and experimental works. For further contact her email address is firstname.lastname@example.org
Translator: Robert Shaw
Graphics Design: Elif Tanmar
Marketing: Karima Sam
Photography: Konstantinos N. Papaoikonomou
Video: Vasilis Katsaros