Triple Bill at Fiver Fridays an evening worth remembering

The evening promised a trio of thought-provoking and captivating pieces, brought by daring choreographers Konstantina Skalionta, Sarah Louise Kristiansen, and Lucia Schweigert.

Living with Sin, a highly acclaimed video production, moves to the stage once more with the same intensities.

Lucia Schweigert explores the effect of the Christian doctrine of original sin on womanhood in a tantalising experience.

Performed by Kathy Richardson, who has an abundance of skill and talent, this piece went through stages identified by the white, red, and black costumes respectively worn. Shedding the ‘sin’ to return to a pure state, Richardson gave an emotive and commanding performance to a euphoric score and booming trumpet sounds. She “embodies womanhood throughout the ages, and in her, all experiences are united,” and truly felt in the audience.


The Pieces That Fit by Sarah Louise Kristiansen is as harsh as it is comforting. The piece based on the speech by Aristophanes, The Origin of Love, goes through the notion of 3 sets of lovers being violently ripped apart and left on a quest to reunite.

Performed to the live vocals and skills of Zosia Jagodzinska on the Cello, the performers bring an Andrew Winghart-esque aesthetics to the stage, yet the difference in individual skill is at times noticeable. Very striking and praiseworthy are the performers’ dynamics developed by Kristiansen – with women lifting women, women lifting men, and vice-versa.

Perhaps the exploration of love in theatre is always met with open arms, yet the choreography, filled with animalistic contortions and beautifully formed lines, truly provides an engaging and exciting dynamic.


Konstantina Skalionta showcased Beauty-fool, an intriguing, sharp, and deeply stimulating solo performance.

Riddled with metaphors, this piece sees Skalionta sit alone at a table with pasta, converse with herself, and repeat the words “I am strong, I am in control, I am beautiful” till an erupting crescendo is reached.

I find out later that the pasta represents the need yet refusal of many women to eat for the sake of beauty (Skalionta serves herself multiple times in a comical repetition but throws it all onto the table before applying red lipstick each time).

“The more you go after beauty, the more it digs into your skin like a thorn” is the heartfelt sentiment, as she moves in space to wipe the words off her skin in a struggle.

We are however treated to a moment of elation at the end, identifying the feeling of self-acceptance, as the lights faded down on an interesting performance, and a fascinating evening.

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