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Digital Programme: Peeping Tom's Triptych

A production photo of Peeping Tom performing. A woman stands at a glass door, looking in on a woman who levitates above a man sitting in a chair.

Discover more about Peeping Tom: Triptych (The missing door, The lost room and The hidden floor) and the creative team behind it in this digital programme. 

Welcome to the Barbican for this year’s London International Mime Festival, guaranteed to brighten the dark days of January.

We’re delighted to be working again with Helen Lannaghan and Joseph Seelig – the  festival’s directors – to bring four exciting and very different productions to the Theatre and The Pit between 24 January and 5 February, as well as screening The Unknown in Barbican Cinema 1 on 29 January, The circus-set melodrama is one of the greatest silent films of all time, starring ‘the man of a thousand faces’, Lon Chaney, and a young Joan Crawford.

We’re thrilled to be presenting international work on our stages once again. In the Theatre, Still Life, rising stars of Belgium’s acclaimed contemporary theatre scene, present the UK premiere of Flesh, a playful, disruptive drama about our need for affection and recognition. This is followed by Olivier-Award winning dance theatre innovators Peeping Tom, who return to the Barbican with the UK premiere of Triptych (The missing door, The lost room and The hidden floor), their new and most ambitious production yet.

In The Pit, Canada’s The Old Trout Puppet Workshop make their Barbican debut with Famous Puppet Death Scenes, a series of macabre vignettes featuring a range of different types of puppets perishing in a range of different ghoulish ways. This is followed by Dorothy James and Andy Manjuck’s Bill’s 44th, a poignant puppet tragi-comedy for grown-ups created in pre-vaccine pandemic times.

Whether you’re here to see one, some or all of this year’s London International Mime Festival shows, we hope you have a fantastic time.

Toni Racklin,
Head of Theatre and Dance, the Barbican.


Following its Mother, Father, Child trilogy, and the Olivier Award-winning 32 rue Vandenbranden, we’re delighted to present dance-theatre innovators Peeping Tom’s latest work. A hit at last year’s Venice Biennale, Triptych reaches new heights of imagination and physical dexterity as it plunges us into the lives of mysterious others.

Now in its 47th year, the Mime Festival is once again proud to partner with the Barbican in presenting exceptional international artists in London.

Helen Lannaghan and Joseph Seelig,
Directors of London International Mime Festival (LIMF).


Tonight, we invite you into the cabins and hallways of an ocean liner, for a labyrinthine journey that is Triptych. Across three short pieces and in three cinematographic sets, a group of characters, lost in time and space, are continually drifting away and searching for one another. When they embarked on this voyage in pursuit of an ideal, they were filled with hope, but reality led them towards an uncertain destiny. They try to find a path through the wanderings of their thoughts while reviving and reliving their memories ‒ or creating new versions of them, open to distortions.

Triptych is a reworked version of three short pieces, originally created for Nederlands Dans Theater. We reimagined the pieces for a group of new performers. Thus, Triptych shows how different bodies, idioms and working methods can not only overlap, but also nourish one another. The scenic changes between the pieces happen in plain sight and become a part of the performance, as if it were live film editing.

We’re excited to present our trilogy at the London International Mime Festival and the Barbican, which has always given us such a very warm welcome. Enjoy the trip!

Gabriela Carrizo and Franck Chartier,
Artistic Directors of Peeping Tom


Image credit: Virginia Rota

About the company

Peeping Tom is a Belgian dance theatre company, founded by Gabriela Carrizo (I/AR) and Franck Chartier (F). With Eurudike De Beul, who would become a frequent collaborator at the company, they created their first project, Caravana (1999), that took place in a trailer home.

Everything in Peeping Tom's work starts with a hyperrealist setting. The space feels familiar, such as a garden, a living room and a basement (their first trilogy Le Jardin, 2002; Le Salon, 2004; Le Sous Sol, 2007), two trailer homes in a snow-covered landscape (32 rue Vandenbranden, 2009), or a retirement home (Vader, 2014).

The creators then break open this realism to create an unstable universe that defies the logic of time, space and mood. You become the witness – or rather, the voyeur? – of what usually remains hidden and unsaid. Isolation leads to an unconscious world of nightmares, fears and desires, which the creators deftly use to shed light on the dark side of a character or a community. The huis clos of family situations remains a major source of creativity for Peeping Tom. Presented using rich imagery, a fascinating battle arises against one's environment and against oneself.

New collaborations
Since 2013, Peeping Tom has also developed productions with other companies and theatres. Gabriela Carrizo created The missing door (2013) and La Ruta (2022) with Nederlands Dans Theater. In 2015, she made The Land with Residenztheater in Munich. Franck Chartier directed The lost room (2015) and The hidden floor (2017) with NDT I. In 2013, he worked on 33 rue Vandenbranden, an adaptation of Peeping Tom's original, with the dancers of the Göteborg Opera. In 2018, Gabriela Carrizo and Franck Chartier directed 31 rue Vandenbranden. This adaptation of Peeping Tom's show was created with the dancers of the Ballet de l'Opéra de Lyon and opened the Biennale de la Danse in Lyon. In 2021, Franck Chartier directed Dido & Aeneas, Peeping Tom’s first opera, for the Grand Théâtre de Genève.

About the London International Mime Festival

London International Mime Festival (LIMF) promotes contemporary visual theatre. Its productions have been nominated for, and won, Olivier Awards, and in 2017 the festival was honoured with the Empty Space - Peter Brook Special Achievement Award for its work over four decades. Founded in 1977, LIMF is an Arts Council England National Portfolio Organisation.

‘The brilliant annual festival of visual theatre, dance, circus and puppetry’
The Guardian

A performer holds another performer around their shoulders. The floor is wet. Behind them, a person holds the head of another person who is slumped in a chair.

Creative team and performers


Konan Dayot
Fons Dhossche
Lauren Langlois
Panos Malactos
Alejandro Moya
Fanny Sage
Eliana Stragapede
Wan-Lun Yu
Supernumerary performer David Taylor

Creative team

Concept and Direction Gabriela Carrizo and Franck Chartier 
Artistic Assistance Thomas Michaux 
Sound Dramaturgy, Sound Composition and Arrangements Raphaëlle Latini 
Sound Composition and Arrangements Ismaël Colombani, Annalena Fröhlich, Louis-Clément Da Costa, Eurudike De Beul and Tom Visser 
Set Design Gabriela Carrizo and Justine Bougerol
Costume Design Seoljin Kim, Yichun Liu and Louis-Clément Da Costa 
Confection Costumes Sara van Meer, Lulu Tikovsky and Wu Bingyan (internship)
Technical Coordination Giuliana Rienzi 
Technical Engineers (lights) Bram Geldhof and Ilias Johri 
Technical Engineer (sound) Jonas Castelijns 
Stage Manager Thomas Dobruszkes 
Stage Technicians Clement Michaux and Giuliana Rienzi
Production Assistants Lisa Gunstone and Robin Appels 
Tour Manager Amaury Vanderborght 
Production Manager Helena Casas 
Communication Manager Sébastien Parizel 
Company Manager Veerle Mans 


Gabriela Carrizo 
Choreographer and director
Gabriela Carrizo was ten years old when she started dancing at a multidisciplinary school that had, at the time, the only group of contemporary dance for children and teenagers. Under Norma Raimondi’s direction, the school went on to become Córdoba’s University Ballet, where she danced for a couple of years, and created her first choreographies.

Since the age of 19 she has worked with Caroline Marcadé, Les Ballets C de la B (La Tristeza Complice and Iets op Bach), Koen Augustijnen (Portrait intérieur) and Needcompany (Images of Affection). She has continued to work on her own choreographies, and these years saw the production of a solo piece, E tutto sará d’ombra e di caline, and Bartime, a collaboration with Einat Tuchman and Lisi Estaras. She also created the choreography for the opera Wolf by Les Ballets C de la B. She plays a leading role in Fien Troch’s film, Kid and in 2013 she created the short piece The missing door for the Nederlands Dans Theater – NDT 1 in The Hague. In 2015, Gabriela Carrizo created The Land, a collaboration with the Munich Residenztheater. More recently, she worked with Franck Chartier on 31 rue Vandenbranden, an adaptation with Le Ballet de l’Opéra de Lyon of Peeping Tom’s original. The piece opened the prestigious Biennale de la Danse de Lyon in 2018. In 2022, she directed La Ruta, her second short piece for Nederlands Dans Theater (NDT 1). 

Gabriela Carrizo has been the artistic director of Peeping Tom with Franck Chartier since they co-founded the company in 2000.

Franck Chartier
Choreographer and director
Franck Chartier began dancing when he was eleven, and studied classical ballet at Rosella Hightower in Cannes from the age of 15. From 1986-89, he was a part of Maurice Béjart’s Ballet du 20ème Siècle, before working with Angelin Preljocaj, dancing in Le spectre de la rose at the Opéra de Paris. He moved to Brussels in 1994 to perform in Rosas’ production Kinok, duos with Ine Wichterich and Anne Mouselet, and productions by Needcompany (Tres) and Les Ballets C de la B (La Tristeza Complice, Iets op Bach and Wolf). In 2013, he created 33 rue Vandenbranden for the Göteborg Opera, based on Peeping Tom’s 32 rue Vandenbranden, and he developed the choreography for the opera Marouf, Savetier du Caire by Jerôme Deschamps at the Opéra Comique de Paris. For Nederlands Dans Theater, he directed The lost room, for which he received the prestigious Dutch prize Swan Most Impressive Dance Production 2016. The world premiere in 2017 of The hidden floor marked his second collaboration with the Dutch company. More recently, he worked with Gabriela Carrizo on 31 rue Vandenbranden, an adaptation with Le Ballet de l’Opéra de Lyon of Peeping Tom’s original. The piece opened the prestigious Biennale de la Danse de Lyon in 2018. He also directed the opera Dido & Aeneas for the Grand Théâtre de Genève, and created the duet Oiwa for the Ballet National de Marseille.

Franck Chartier has been the artistic director of Peeping Tom with Gabriela Carrizo since they co-founded the company in 2000.

Konan Dayot
Konan Dayot joined Peeping Tom in 2020 to perform in Triptych: The missing door, The lost room and The hidden floor. He trained in jazz drums, classical percussion and contemporary dance at the Conservatoire de Nantes, completed an exchange programme at The Juilliard School and earned degrees from the Conservatoire Supérieur de Paris and the Centre National de la Danse. He has worked with artists including Boris Charmatz, Thierry Smits, Olivia Granville, Helge Letonja, Ashley Chen, John Scott and Thomas Lebrun, among others. He is a percussionist in the Trio Dayot and works with the atelier Terre et Son, where he collects and plays udus. He has collaborated intensively, both within dance and in music, sometimes both, on works in conventional spaces, national theatres, and in the Louvre museum and Tate Modern; as well as more informal spaces, such as the submarine base of Saint-Nazaire, the scaffolded cathedral of l’Aquila or the burning intensity of the Sahara Desert. 

Fons Dhossche
Fons Dhossche joined Peeping Tom in 2020 to perform in Triptych: The missing door, The lost room and The hidden floor. As a child, he took acting classes in the Kopergietery, a theatre for children and teenagers in Ghent. From 2008-2016, he worked with the Berlin-based theatre collective Gob Squad. In 2017 he graduated from MUDA in Ghent, a high school for contemporary dance. and in 2021, he completed his Bachelor in Modern Theater Dance (MTD) in Amsterdam.

Lauren Langlois
Lauren Langlois  joined Peeping Tom in 2020 to perform in Triptych: The missing door, The lost room and The hidden floor, and is currently in the cast of Peeping Tom’s new creation which will premiere in September 2023. She studied classical ballet at the Marie Walton-Mahon Dance Academy in Sydney before training in contemporary dance at the New Zealand School of Dance. Lauren Langlois began her professional career with the Australian Dance Theatre from 2008-2010, performing and touring in two of the company’s major works, G and Be Your Self. In 2011, she joined Sydney Dance Company under Artistic Director Rafael Bonachela, performing in LANDforms, 6 Breaths, We Unfold and The Land of Yes and The Land of No, before relocating to Melbourne to join Chunky Move to collaborate with Antony Hamilton on Keep Everything, for which she has been nominated for Helpmann, Green Room and Australian Dance awards. Other collaborations include work with Anouk van Dijk, performing in An Act of Now, 247 Days, Complexity of Belonging (2015 Green Room Award for Best Female Dancer) and LUCID; as well as with Force Majeure, Lucy Guerin Inc, Stephanie Lake Company, Prue Lang, Chamber Made and Ross McCormack. She was the recipient of the prestigious 2017 Tanja Liedtke Fellowship and has since been commissioned to choreograph works for the New Zealand School of Dance, Footnote New Zealand Dance Company, Western Australian Academy of Performing Arts, Chunky Move and Sydney Dance Company. In 2016, she became a certified Countertechnique teacher and enjoys teaching students and professional dancers in Australia and overseas.

Panos Malactos
At the age of 17, Panos Malactos studied musical theatre with a scholarship (Dance and Drama Award) at the Bird College, continuing his training with a BA in Ballet and Contemporary Dance at the Rambert School. After graduating he moved to Israel to work with Fresco Dance Company, performing works by Michael Getman and Yoram Karmi, and spent time with Inbal Dance Theatre working with the choreographers Mor Shani and Noa Shadur. He has also worked with KENZO Paris, Compagnie Tabea Martin in Switzerland, Liliana Barros in Germany, Jason Mabana Dance in the UK, Emma Evelein Dance in the Netherlands), X-it Dance Theatre by Fotis Nikolaou in Cyprus/Greece, and Milena Ugren Koulas and Asomates Dynamis Dance Company in Cyprus. In 2019 he performed in Deca Dance by Ohad Naharin and a new creation Ballroom by Shahar Binyamin, in a collaboration between the Festspielhaus St. Pölten in Austria and Batsheva Dance Company. He collaborated with the director Elias Adam as a performer and choreographer in We Are In The Army Now, Kivotos Channel, Father Help Us and Eyolf Machine. Panos Malactos is also currently touring his solos SADBOI and Hire Me, Please.

Alejandro Moya
Alejandro Moya joined Peeping Tom in 2020 to perform in Triptych: The missing door, The lost room and The hidden floor. At the age of 10, he began to break dance and has since been invited to dance in different parts of the world, receiving awards in the United States, Switzerland, UK, South Korea and China, among others. Since 2006, his crew, Fusion Rockers, has won many events and represented Spain in international competitions.

He joined Dani Pannullo Dancetheatre in 2009 and has since performed around the world in Desordances_5, Uirapurú, Soul Pait, Bird of Fire, Alma Malabar and Avalanche. In 2010 he began studying contemporary dance at the Royal Professional Conservatory of Dance Mariemma in Madrid, training in classical dance, Graham, release, improvisation, yoga, music and other disciplines. With Sharon Fridman Projects in Mouvement, he has performed in a number of productions including Caída Libre (as dancer) and the duet Hasta Donde (as interpreter). He has worked with the Company KORSIA since 2015, including in the piece Cul de Sac, and with Company Antonio Ruz in 2018 in the piece presente. As a teacher he has given dance workshops in countries including Germany, Italy, Israel and Singapore.

Fanny Sage
Fanny Sage joined Peeping Tom in 2020 to perform in Triptych: The missing door, The lost room and The hidden floor. She trained as a dancer at the Conservatoire National Supérieur de Musique et de Danse de Lyon, earning a degree. She works across genres, including promotional work as a choreographer and dancer for Chanel, Cartier, Hermès, KENZO, Nina Ricci, Vogue, Valentino, Lancôme, Gucci, Bulgari, Swarovski, and in video clips for Stromae,

Placebo, Elton John, Angèle, Malik Djoudi; and as a performer and choreographer for dance companies including Cie d’Abou Lagraa, La Baraka, cie Maryse Delente and cie Paul les oiseaux. She recently created a solo with La Compagnie Sans Lettres, a duo with the company Art Track and a female duo with the company LAC. Her latest creation is a solo, AMA, inspired by Japanese philosophy. She enjoys a combination of dance and acting, in short films for the Opéra de Paris or in feature films, such as La Danseuse (as a double for Lily Rose Depp). TV includes Vernon, a series by Cathy Verney for Canal+ .

Eliana Stragapede
Carmela Eliana Stragapede joined Peeping Tom in 2020 to perform in Triptych: The missing door, The lost room and The hidden floor. Her training began in private schools, and in 2011, she joined the Junior Dance Company under the direction of Sara Accettura, the first youth company in the south of Italy, with which she performed works by Osnat Kelner, Kerry Nicholls, Yoshua Cienfuegos and others. Her training continued at Codarts University of the Arts in Rotterdam, working with Club Guy & Roni, Lukas Timulak, Jiří Kylián, Raphael Bonachela and others, including internship work with Marina Mascarell and Club Guy & Roni/Poetic Disasters Club. Upon graduating in 2018, she joined the Tanzmainz Ensemble at Staatstheater Mainz for two seasons, working with Roy Assaf, Club Guy & Roni, Victor Quijada, Felix Berner and Pierre Rigal.

Wan-Lun Yu
Wan-Lun Yu  joined Peeping Tom in 2020 to perform in Triptych: The missing door, The lost room and The hidden floor. She graduated from the Taipei National University of the Arts in 2013, where she studied ballet, contemporary dance, Chinese folk dance, tai chi, contact improvisation, and Chinese martial arts. Since then, she has performed and collaborated with various choreographers, directors, filmmakers, and visual artists, including Hsiao-Mei Ho, Yen-Cheng Liu, Ming-Chen Li, Chien-Ming Chang (Hofesh Shechter Company), Kuan-Hsiang Liu, Chien-Ju Chia, Hiroaki Umeda, Gerard & Kelly, Jos Baker and Mylène Benoit. She also works as a process assistant and facilitator, assisting Kuan-Hsiang Liu’s work Superbeing for Cloud Gate 2 (TW) and Thinkers’ Studio (TPE) on an online residency platform Connect with SEA (Gender Issue): Residency in the CLOUD in 2021. As a maker, Wan-Lun Yu’s first project was a collaboration with Belgian audiovisual artist Joeri Verbesselt on the short film titled Retreat, which was selected for Copenhagen’s CPH: DOX film festival, Ann Arbor Film Festival, The New York Science Fiction Film Festival, The European Philip K Dick Film Festival and, Breedbeeld short film festival. A second project, Tableau Vivant involved two site-specific installation performances foam, slaver, froth, sperm and Find the Apple. This collaboration has received financial support from the Taiwan National Culture and Arts Foundation and the Flemish Government.


For the Barbican

Barbican Centre Board  
Tom Sleigh  
Deputy Chair  
Sir William Anthony Bowater Russell  
Deputy Chair  
Tobi Ruth Adebekun  

Board Members  
Munsur Ali, Randall Anderson, Michael 'Mikey J' Asante, Farmida Bi, Tijs Broeke, Zulum Elumogo, Gerard Grech, Ann Holmes, Wendy Hyde, Charles Edward Lord, Wendy Mead, Graham Packham, Mark Page, Alpa Raja, Jens Riegelsberger, Jane Roscoe, Despina Tsatsas and Irem Yerdelen   

Clerk to the Board  
Ben Dunleavy  

Barbican Centre Trust  
Farmida Bi CBE   
Vice Chair   
Robert Glick OBE  

Tom Bloxham MBE, Stephanie Camu , Tony Chambers , Cas Donald, Tracey Harrison , Jeff Holland , David Kapur, Ann Kenrick, Kendall Langford, Alasdair Nisbet, Tom Sleigh and Sian Westerman  

Chief Executive Officer    
Claire Spencer   
Artistic Director   
Will Gompertz   
Director of Operations and Buildings   
Jonathon Poyner   
Director of Development   
Natasha Harris   
Director of People, Inclusion and Culture   
Ali Mirza  
Head of Finance & Business Administration  
Sarah Wall  
Senior Executive Assistant to Claire Spencer and Will Gompertz   
Jo Daly  

Theatre Department  
Head of Theatre and Dance   
Toni Racklin   
Senior Production Manager  
Simon Bourne  
Leanne Cosby, Jill Shelley, Fiona Stewart  
Assistant Producers  
Anna Dominian, Saxon Mudge, Mali Siloko  
Production Managers  
Jamie Maisey, Lee Tasker  
Technical Managers  
Steve Daly, Jane Dickerson, Nik Kennedy, Martin Morgan, Stevie Porter  
Stage Managers  
Lucinda Hamlin, Charlotte Oliver  
Technical Supervisors  
James Breedon, John Gilroy, Jamie Massey, Adam Parrott, Tom Salmon, Lawrence Sills, Chris Wilby  

PA to Head of Theatre  
David Green  
Production Administrator  
Caroline Hall  
Production Assistant  
Andrew Pellett  
Eleanor Foster, Kendell Foster, Burcham Johnson, Christian Lyons, Charlie Mann, Josh Massey, Matt Nelson  
Stage Door  
Julian Fox, aLbi Gravener  

Creative Collaboration and Learning 
Head of Creative Collaboration  
Karena Johnson 
Senior Producer 
Lauren Monaghan-Pisano 
Lauren Brown 
Assistant Producer 
Rikky Onefeli 

Marketing Department  
Acting Head of Marketing  
Ben Jefferies  
Marketing Manager   
Kyle Bradshaw  
Marketing Assistant   
Rebecca Moore   

Communications Department  
Head of Communications  
James Tringham  
Communications Manager   
Communications Assistant  
Sumayyah Sheikh  

Audience Experience   
Deputy Head of Audience Experience & Operations   
Sheree Miller   
Ticket Sales Managers   
Lucy Allen, Oliver Robinson, Ben Skinner, Jane Thomas   
Operations Managers   
Seán Carter, Richard Long, Rob Norris, Elizabeth Davies-Sadd, Samantha Teatheredge  
Operations Manager (Health & Safety)   
Mo Reideman   
Audience Event & Planning Manager   
Freda Pouflis   
Venue Managers   
Scott Davies, Tilly Devine, Gary Hunt, Nicola Lake, Tabitha Goble   
Assistant Venue Managers   
Suman Cheema, Giovana Lorensatto, Maria Pateli, Joanna Quilty, Cherry Xi, Daniel Young  
Crew Management   
Dave Magwood, Rob Magwood, James Towell   
Access and Licensing Manager   
Rebecca Oliver   
Security Operations Manager  
James Cocklin  

A performer in a long coat holds another performer around their head so that it looks like their head has been severed from their body.

With thanks

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With thanks 

Founder and Principal Funder  
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Major Supporters 
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Leading Supporters 
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Programme Supporters 
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Key production sponsors

Presented by the Barbican in association with London International Mime Festival

Based upon Adrift, created with the dancers of NDT I: Chloe Albaret, Lydia Bustinduy, César Faria Fernandes, Fernando Hernando Magadan/Spencer Dickhaus, Anna Hermann, Anne Jung, Marne Van Opstal, Roger van der Poel, Meng-keWu, Ema Yuasa/Rena Narumi, with artistic assistance by Louis-Clément Da Costa, Seoljin Kim and Yi-Chun Li.

Co-produced by Opéra National de Paris, Opéra de Lille, Tanz Köln, Göteborg Dance and Theatre Festival, Théâtre National Wallonie-Bruxelles, deSingel Antwerp, GREC Festival de Barcelona, Festival Aperto / Fondazione I Teatri (Reggio Emilia), Torinodanza Festival / Teatro Stabile di Torino – Teatro Nazionale (Turin), Dampfzentrale Bern, Oriente Occidente Dance Festival (Rovereto)

Created with the support of the Tax Shelter of the Belgian Federal Government.