Who Do We Think We Are?

A kaleidoscope of stories about war, displacement, revolution and liberation taking us on an emotional journey across three continents. Based on the actors’ personal and family experiences, the stories interweave and overlap, exploring moments of joy, sadness and laughter set against key historical events over the last hundred years. Poignant, moving, funny, inspiring, this is the first piece of work created by the Visible Ensemble, dedicated to putting older performers and their rich lives centre stage.

Reviews

‘Memories are picked up like dropped stitches… by a company of older actors of defiant talent’ – The Observer

‘At once charming, funny, touching, surprising and sad, this is a ride through the gamut of emotion that is life, or in this case, many lives’ – Everything Theatre

‘This is endlessly, endlessly moving theatre — go see’ – A Younger Theatre

‘A beautiful production — there is an immediacy to the stories that is intoxicating’ – Entertainment Focus

‘This is an ensemble work in which every performance is magnificent and as a whole a wonderful accomplishment. Don’t miss it.’ – British Theatre Guide

‘…by the time I left the theatre, I was having difficulty selecting favourite scenes to pick out in this review. And that would be my conclusion: you have to see this play, because there’s just so much of it that you can’t afford to miss.’ – A Theatre Blog

‘All of which makes the mission statement of ‘Visible’ – a new ensemble company formed of older actors – even more urgent and necessary’ – Exeunt Magazine

Audience feedback

‘It was so refreshing to see older performers depicted not in the narrow ways we generally see them on stage and screen – as doddering fools, terribly nice little old ladies, or bit-part players. The evening very much made me think about how terribly out of step we are in our industry in terms of how we present older people. So if that was – in part – the ensemble’s intention, then job well done!’ – Lucy Kerbel Director, Tonic Theatre

‘It was as very moving performance, as the memories were totally personal and beautifully delivered.   And a brave and long-overdue venture.  Please keep me on your mailing list.’ – Katharine Sathe, University of 3rd Age

‘A superbly energetic production – not just physically, but in its wealth of ideas too. I do hope it gets the recognition it deserves.’ – Jane Dorner

General Audience via Feedback Wall

‘The best night’s theatre I have experienced in years. A master lesson in acting.’

‘As a 20 year old, I feel this show was an out of this world way of showing what came before phones and the internet. I don’t think I quite realised how different your childhoods were to how mine has been – how different my own late grandmother’s must have been. Congratulations on a fab show!’

‘A very inspiring and polished production. Older people are the people we all must learn from – this is a wonderful example.’

‘An endearing performance about hopes, dreams and the power of memory. Excellently told by a talented cast. Well done! Could feel history coming alive. Love from a 20 year old American, Katie.’

‘To put it very simply: thank you for sharing this universal story made of your individual memories in such a way everyone can connect with it. Moving. Funny. An open window for reflection on how we all carry our stories, memories, family bonds.’

Sonja Linden

Born in London to German refugee parents, Sonja is a theatre producer and writer whose plays have been produced on radio and on stage throughout the UK and the United States. She is the founding artistic director of Visible Theatre Ensemble, having previously founded iceandfire theatre (www.iceandfire.co.uk), a company that explores human rights through performance (nominated for a Liberty award in 2010). Sonja's plays for iceandfire include: On A Clear Day You Can See Dover (Wilton's Music Hall, Crucible Theatre, Sheffield and UK national tour), Welcome to Ramallah, co-written with Adah Kay, and its companion piece, Palestine Monologues, (Arcola Theatre, York Theatre Royal, Compass Theatre, San Diego); Crocodile Seeking Refuge (Lyric Hammersmith, UK national tour), Asylum Dialogues (Tricycle Theatre and UK national tour), I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda (Finborough Theatre, UK and USA tours, BBC World Service Radio), and Asylum Monologues (UK national tour). Previous work includes: The Strange Passenger (Paines Plough, Battersea Arts Centre and UK National Tour); The Jewish Daughter, sequel to Brecht's The Jewish Wife (New End Theatre); Call Me Judas (Paines Plough, Finborough Theatre) and Present Continuous (Edinburgh Festival, Fringe First, BBC Radio 4)