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Digital Programme: Castle of Joy (Det Ferösche Compagnie)

Castle Of Joy performance

Find out more about the production and the creative team behind it in our digital programme. 


Welcome to the Barbican and thank you for joining us for our new season. To mark the start of a new year, we look back and also celebrate new beginnings. 

Thank you for joining us in The Pit to welcome Det Ferösche Compagnie, a collaborative theatre collective from the remote Faroe Islands in the Atlantic Ocean. These artists make important, brave work in dialogue with the myths, legends and history of their people. With a small population to perform to at home, we are pleased to introduce their Faroese language and stories to a UK audience for the first time. Their latest production, Castle of Joy, is inspired by true events which resonate far beyond the village of Miðvágur where they started. The challenging conditions faced by one person trying to build a world of their own becomes a universal metaphor about independence, self-expression and acceptance. We hope you enjoy the show.

Toni Racklin, Barbican Head of Theatre & Dance

The Barbican has inadvertently shaped Det Ferösche Compagnie as an artistic group: almost all members have studied in London and consequently often visited. Hailing from a small and isolated country like the Faroe Islands – where only 4-5 plays are performed annually and which lacks proper theatres, concert halls and cinemas but is abundant in free churches and sects – London and the Barbican represented an oasis in the desert for those of us who were thirsting for artistic knowledge and fulfilment.

Búi Dam, for Det Ferösche Compagnie

Four of the Company’s members share their most memorable experiences at the Barbican:
Kristina Sørensen Ougaard: While studying in London, I spent many evenings at the Barbican Theatre. A particular eye-opener for me was the production The Elephant Vanishes by Complicité. The theatre language and transformation of props were truly inspiring and something I had never seen before. Giselle by Fabulous Beast Dance Theatre also completely blew me away. I actually called the Barbican to get hold of the Company. A few years later, our paths did cross. To me, my theatrical experiences at the Barbican have had a big impact on my formative years as a student in London.

Jens L. Thomsen: In 2012, I had the incredible opportunity to witness Einstein on the Beach by Philip Glass and Robert Wilson at the Barbican. It was not only the best experience I've had at the Barbican, but it also stands out as one of the most remarkable music experiences I've encountered. This performance had a profound impact on me, fundamentally altering my perspective on music and performing art. Even to this day, my work continues to be informed by that unforgettable evening.

Búi Dam: I've had numerous experiences at the Barbican, but two in particular stand out as truly life-changing. Romeo Castellucci's production of Dante's Inferno shook me to my core and communicated with me in ways I had never before experienced. My introduction to Complicité was through their performance of Shunkin. As a child, my parents owned a videotape of Peter Brook's Mahabharata, which I watched repeatedly. Shunkin transported me back to that enchanting initial encounter with theatre as an art of suggestion.

Sámal Blak: The Barbican has been an important venue for shaping my understanding of what theatre can be. I have seen non-verbal visual theatre at the annual Mime festival as well as experiencing some of the great theatre makers here, such as Romeo Castellucci, Improbable Theatre, Complicité and Robert Lepage.


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