ARCHIVE
Selected works from 1996 to 2022
sense:less by Cortex and Kate Pendry (1996)
sense:less is an interactive electronic art project which demonstrates a groundbreaking interplay between technology and theatre. The virtual world of sense:less is inhabited by Jean-Claude, Amanda, Harold, Autista and ‘the sisters’ – five beings with ‘human’ voices, moving ‘bodies’ and a distinct personality of their own. Through virtual reality technology, a pair of stereoscopic glasses and a bodysuit the visitor can enter this world, which consists of a blown-up, five meters high, semi-transparent plastic egg, suspended from metal arms over a metal platform. On the wall of the egg a circular data projection visualizes the virtual world, which is visible both inside and outside of the egg. People watching the installation can see the visitor as he or she travels through the virtual world. Both visitors and spectators hear the accompanying sounds and the words spoken by the beings.
The bodysuit can be adjusted to each visitor’s individual features and contains sixteen areas with touch pads: stimuli that give the visitor the sensation of being touched by the inhabitants of sense:less. How this is done, depends on the interaction with the visitor, and on the personality and mood of whoever touches him. Each of the inhabitants has a story to tell and their behavior is based on ‘real people’ and their personal experiences. This world is navigated by moving a joystick.
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The beings inhabit a world that is constantly changing. Its form is derived from the relationship with a network structure that is in turn based on real-time data from a World Wide Web server. In this way the users of the World Wide Web are present as nodes in the network and are being introduced by wandering ‘mechanoid agents’. Form and direction change with the way in which World Wide Web users apply the hypertext structure of the WWW server.
Written and performed by: Kate Pendry
Credits:​ Design / Interface / Programming: Knut Mork, Marius Watz, Ståhl Stenslie
Supported by: Henie Onstad Kunst Senter / Kulturrådet
Award: Pris Ars Electronica, Honorary Mention
LINKS:
The Princess, 1997
Dead Diana by Kate Pendry (1997 - 2007)
Dead Diana was a radical performance concept created as a response to the outpouring of grief at the death of Princess Diana in 1997. The elevation of this rather privileged woman to sainthood struck me as deeply disturbing. I was also provoked by the book The Celestial Voice of Diana, by Norwegian clairvoyant Rita Eide that sold thousands of copies in 1997. In the book Eide claimed to have ‘channeled the voice of the late princess, and was giving Diana’s message to the world. In Rita’s channeling, ‘Diana’ opined that ‘Africans and homosexuals have suffered from aids because they don’t value the great gift of sexuality that God has given them.’ I was so incensed by this dangerous ‘shaman’ horseshit that I created my own ‘channeling’ of the late Princess. I presented her as a grotesque, darkly funny spirit creature who showed that the only people who seem to get into heaven are rich celebrities. The Dead Diana concept ran for 10 years, and performed successfully all over Europe. Except for the UK. Where I was thrown off the stage by an outraged audience after only a few minutes of the performance. In 2007 I was however, approached by a clairvoyant in Stavanger. She had watched the show and said: “What you’re doing isn’t theatre. You know Diana’s here with you when you’re on stage. Standing right by you. And she’s loving every minute of what you do!”
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Credits:​ Written and performed by: Kate Pendry
Realtime voice manipulation / soundscape: Kate Pendry / Marius Watz / Per Platou
Supported by: Norsk Kulturrådet / Black Box Teater
Charlie Pendry’s Talking Heads by Kate Pendry (1999)
With Charlie Pendry’s Talking Heads Pendry has created a work that unites theater and visual art. The piece resembles a Gothic storybook, or a Victorian carnival booth ,intricately decorated and covered with pictures and images proclaiming the “wonders” you will find inside the box: Charlie Pendry’s Talking Heads.
The entire box is padded with velvet and is large enough for one person to sit on a simple stool inside. You close the door behind you and enter a beautifully dark red room with a small film screen. A head on the screen begins to speak to you. You are introduced to one of the many characters from Charlie Pendry’s Talking Heads. The eight mixed-media portraits and the actor’s body with their life stories “float” in this virtual cabinet—a mix of video, film, puppets, and textiles.
Each figure in Talking Heads represents one decade from the 20th century, and tells their own story of loss, vulnerability, and identity. The project is inspired by Pendry’s own family history and a fascination with how Victorian popular theater explored themes of mental illness and moral decay.
building on the “heads” introduced in an earlier work: Monster Madonnas (1995), which also featured female characters with strong voices and grotesque life stories.
Charlie Pendry’s Talking Heads has been shown in various versions at gallery and festival exhibitions in Norway and internationally. The installation was part of the exhibition DETOX from 1999 to 2001.
Credits:
Written and performed by: Kate Pendry
Scenography: Torgeir Karlsen
Film: Marius Watz
Makeup transformations: Tiffany Rae
Commissioned by: Riksutillinger (Norwegian National Touring Exhibitions) / Detox exhibition
Supported by: Rikstustillinger, Norwegian Arts Council
Sex In The Warzone by Kate Pendry (2002)
Sex In The War Zone explores Western European hypocrisy and war tourism in the Balkans after the civil war in the late 90’s. This is the first of Pendry’s ‘memoir’ theatre plays, based on her visits to Kosovo and Sarajevo in 2002. In the play she confronts her own participation in unethical behaviour and the ‘white saviour’ complex. The play was performed internationally including the Cartier Foundation in Paris, the Museum of Modern Art in Stockholm and the Center for Cultural Decontamination in Belgrade.
Written and performed by: Kate Pendry
Sound design: Kate Pendry
Supported by: self funded
PeepShow Marilyn by Kate Pendry (2003)
In Peepshow Marilyn, Pendry portrays Marilyn Monroe during the filmstar’s final hours, with sixteen fish hooks attached to her skin. Smiling and bleeding, the audience shares in the artist’s discomfort as well as Marilyn’s pain. Ambiguity is a central element in this performance, and everyone’s pain (the audience’s, the artist’s, and the film diva’s) is combined with a poetic expression. Peepshow Marilyn is a long-duration live installation lasting up to seven hours, always performed in a hotel room. It can be characterized as extreme art.
Written and performed by:​ Kate Pendry
Music composition: Michael Burdett
Performance body piercings: Hååve Fjell
Supported by: self funded
Tales From A Wicked Child by Kate Pendry (2004)
Tales From A Wicked Child is a performance / theatre work that invites the audience to contemplate whether any child can be born evil. The audience is encouraged to participate in a ‘game show’ with no prizes, where they must guess whether children (in photographs covering the entire venue wall) grew up to be ‘good’, ‘famous’ or ‘evil’. The audience is confronted by their own prejudices and asked to reflect on what makes a society obsessed with ‘heroes’ unable to take responsibility for its monsters.
Written and performed by: Kate Pendry
Supported by: Kunstverket Galleri / BIT Teatergarasjen
Pornography by Kate Pendry (2009)
PORNOGRPAHY was written as a critique of the wide availability of porn in society. That said, I balanced the play by setting it in a courtroom, where porn was being put on ‘trial’. In this way both sides of the argument could be heard. The play was deeply controversial and Kulturrådets funding of it was criticised on the front pages - the assumption being I had been given funding to create pornography. Despite average reviews (critics were disappointed there wasn’t more porn in the play - you just can’t win!) - the work was nominated for the Ibsen pris in 2008. I toured high schools around the country with a lecture version of the play for a year.
Written and directed by: Kate Pendry
On stage: Mail Lise Rasmussen, Marian Ferrier, Neil Howard, Eirik Skagen, Chrsitina Mowinckel
Supported by: Kulturrådet / Det Åpne Teater / FFLB
LINKS:
Rent the script
Erasmus Tyrannus Rex (2010)
When I was commissioned by DUS to write a play for teens as part of their 2009 cohort I asked them if they were sure they wanted me? Didn’t they know that I was controversial? They assured me that was why they were inviting me in, to have a diversity of writers. The play I wrote - Erasmus Tyrannus Rex was about a school massacre in a contemporary Norwegian High School. The play was awarded the Ibsen Pris in 2010 - and is still performed to this day - most recently in 2024 at Hartvig Nissens in Oslo (the fourth time in 15 years they’ve produced it). It is one of my proudest achievements. I have no children of my own, but occasionally I’ll meet an upstanding member of Norwegian society (only last year a young up and coming politician) - who say they played one or other of the darkly distressed characters in Erasmus back in high school, and that the experience was meaningful.
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Written by: Kate Pendry
Supported by: Commissioned by Den Unge Scene
RadiOrakel by Kate Pendry (2002 - 2012)
The legendary feminist radio station RadiOrakel was my home for 10 years, where I presented a weekly radio show THe Dead Diana Corporation News (te DDC News). This was a one person show where I would riff uncensored on the events of the day, while soundtracking the talk with a vast array of music tracks spanning the last hundred years of popular music. At it’s peak I had 20 000 listeners, and by the end of its last season I had broadcast over a thousand hours of original radio.
Written and presented by: Kate Pendry / produced by RadiOrakel
Supported by: RadiOrakel / Oslo Kommune
Monster Madonnas by Kate Pendry (1995)
The play follows the lives of fourteen characters - ranging from two 5 year olds, to the Virgin Mary and the mother of a serial killer - and the fragments of their lives bleed into each other as do the scenes they play.
More comedy than tragedy, more irony than pathos, the play is violent because it is funny and disturbing because it is true.
Two actresses play all the characters, performing with precision, craft and sleek costume changes. Both actresses have extensive experience with stylised physical theater such as Grotowski and mime, as well as traditional theatre disciplines of voice and verse. This combination aims for a theatre-truth which can be gentle, violent, entertaining
Oslo Stage Company is a multilingual performance company, based in Oslo, who explore language in performance. This policy is partly because of the fast-changing shape of Europe, and also a delight in finding that Theatre allows for a great beauty in hearing different languages spoken together.
Credits:
Playwright: Kate Pendry
Translation: Mai Lise Rasmussen
Actresses: Kate Pendry and Mai Lise Rasmussen
Light and audio: Jon Erling Wevling
Direction consultant: Karina Mauch
Photography: Astrid Hals
Poster design: Marius Watz
Funded by: Norsk skuespillerforbund/ Per Gjersøes fond
I can also sing the blues by Kate Pendry (1999)
- commissioned music theatre - Nordic Black Theatre
This commissioned play explored the idea of whether the Blues can only truly be experienced by Black citizens. Can a white woman sing the Blues? The play contained 9 new songs specially written for the production, and all thematically linked to the play.
Director: Cliff A. Moustache
Playwright/librettist: Kate Pendry
Composer: Petter Wiik
Scenography Rocco Petruzzi
Light design: Ketil Akerø
Costume design: Elisabeth Nøkland Johansen
Producer: Jarl Solberg
Funded by: Norsk Kassettavgiftsfond and Norwegian Ars Council
Heroïn - rock band (2002)
For a few weeks in the summer of 2002 I fronted a rock band. We played three legendary concerts and then imploded - as bands do. Somewhere I have a cassette tape of the 8 songs we wrote - including "Dr Death" (about Fred Leuchter, who invented the lethal injection machine ) and "Lambs To The Slaughter" (warning of the dangers of conspiracy and group think. Yass, Heroïne was ahead of it's time.) Robin on bass, Magnus on guitar, Tom on drums. Self on vocals. All lyrics by KP, music by the band.
2002 -2004 Body suspensions
My explorations of an immersion into modern primitive culture and body suspensions with modern fakirs Pain Solution was a turning point in my acting technique. The psychological endurance and ‘giving in’ to something that at first glance seems grotesque and violent became an element of all my subsequent work, and remains a part of my theoretical practice to this day. Not everything that seems bad is bad. Pain without fear is merely sensation. Human resilience is a divine quality.
Johnny Johnson Residency Dramatikkens Hus (2010)
Kate Pendry’s alter ego Johnny Johnson is back!
“Johnny Johnson in D’Hus” will be a regular feature this spring at Dramatikkens hus, with a brand-new edition each month in 2010.
Johnny Johnson, who has previously delighted and provoked audiences with performances such as “An Evening with Johnny Johnson” and “Johnny Johnson’s Election Services”, returns to the stage with his signature sharp satire and biting humor — joined by his brilliant female counterparts Cynthia Johnson and Mandy Churchill.
As always, he casts a wide net, offering razor-sharp reflections on everything from love, religion, and gender equality to Eurovision — all delivered in top talk show style.
He’s Johnny Johnson, and he always speaks the truth!
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With Mai Lise Rasmussen as Mandy and Christine Mowinckel as Cynthia.
Presented by Dramatikkens hus in collaboration with Dramatikkens hus.
Demonology (2009)
In Demonology demonic love is explored, with Shakespeare’s Richard III as a foundation. Focus is on the crippled king’s demonic seduction of Lady Anne. The work uses a large scale puppet which appears to emerge from the actress’s stomach. An extremely physical production that touches on the trope of demonic possession and how that might be an allegory for an abusive relationship.
The sound track to the production is from the hardcore metal band Blodspor, and the puppets are created by Grethe Larssen.
Playwright: Kate Pendry
Puppet designer: Grete Larssen
Actress/Puppeteer: Kate Pendry
Puppet maker: Grete Larssen
Demonology is developed and presented in collaboration by Stamsund International Theatre and Nordland Visual Theatre.​​​
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Aktivist Kafe artist residency 2014
In 2014 I was invited by the Aktivist Kafe in Oslo to hold regular evenings of (free) performances over six months. The graphic design (by RedFront design) of the series contributed to its sell out run. Each performance took a different theme. The performance ‘Your Government Is Out Of Control — and here’s what you can do about it” resulted in me getting a visit from two undercover PST officers, who were concerned that I might be a domestic terrorist.
Written and performed by: Kate Pendry
Supported by: self funded
The Fountain / Il Fontana by Kate Pendry (2014)
VITERBO – A new special event for Quartieri dell’Arte 2014, which, for the 18th edition of the contemporary playwriting festival, under the slogan “I will be there not being there as I will be there being there”, presents today, September 5, at 6:30 PM at the Rocca Albornoz (home of the National Etruscan Museum, in Piazza della Rocca), the second site-specific performance.
In “The Fountain” by Kate Pendry (with the audience positioned on the loggia of Pope Paul III at the Rocca Albornoz—fifty meters above the actors performing in the square), three men meet at the fountain where dark secrets and radiant desires are shared. The three believe no one can see them, think they cannot be heard—but they are wrong. We watch them from behind. We hear every single word they say.
The performance is inspired by Vittoria Colonna but also by Alfred Hitchcock, Marcello Mastroianni, Jacques Tati, Dante Alighieri, and Pink Floyd.
Welcome, to the machine.
COSTA BLANCA by Kate Pendry/Kim Atle Hansen (2016)
Zaragoza unfolds a historical and ideological perspective on the Spanish authorities’ plan to attract and accommodate tourists on the Costa Blanca.
José is a Spanish man who has made a specialty of seducing visiting women. Wenche is a Norwegian woman who might allow herself to be seduced. An older Norwegian man, known only as “Uncle,” moves to Torrevieja on the day he retires, eager to finally live out his selfish desires. He is confronted by refugees arriving from the south, who are also fleeing climate-related challenges, and ultimately sacrifices himself for the greater good.
The play explores tourism in southern Spain, particularly the Norwegian presence and the issue of climate refugees.
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Premiere: July 2016, Sala Cuarta Pared, Madrid - in Spanish.
The project is a collaboration between DraftInn in Spain and Dramatikkens hus.
Points of Pain by Kate Pendry (2014)
Points of Pain was written as a response to the 22nd of July, and the trial of Anders Behring Breivik. It was written as a poetic prose /poem that explored radicalisation, group think, and concepts of absolute good and absolute evil. At its core it looked at how the mother’s of victims and perpetrators deal with these two ends of the spectrum of trauma. Breivik appeared as a tongueless puppet, and was quietly executed at the end of the play.
Written and directed by: Kate Pendry
Puppet designed by: Grete Larssen.
On stage: Alan Lucien Øyen, Niklas Westerberg, Suzie Davis, Kate Pendry, Mai Lise Rasmussen
Producer: Marius Podolski
Production in collaboration with Dramatikkens hus and Kulturkirken Jakob.
Points of Pain premiered at the freedom of expression festival Redzone in Beirut/Cairo in May 2014.
Underland The Cloud by Kate Pendry (2015)
In a smart(phone) world, where everything can be, will be, and is stored in the cloud, we meet a mythical woman from a bygone era, facing the twilight of her life. Our Lady of Forgetfulness is dying, and the cloud does not wait patiently. As the cloud begins to consume her old world, life flickers before her eyes. Or is it our lives — our collectively forgotten moments?
We live in a world where our habits and movements — both online and in real life — are increasingly tracked, stored, and documented. Algorithms collect metadata in volumes beyond our comprehension, while we ourselves broadcast our private lives on an ever-expanding platform of social media. What happens to us in a reality where everything is stored and remembered for us, gathered in a floating cloud somewhere up above?
Underland – The Cloud is a modern audiovisual fable about the cloud, surveillance, and what it means to be human in this era of unprecedented technological possibilities. We bury human memory and our ability to forget what is neither important nor desirable to remember. We dive — or rather rise — into a world where forgetfulness no longer exists.
Credits
Playwright: Kate Pendry
Director: Rebekka Nilsson and Jip Vuik
Audiovisual design: Sjur Miljeteig
Scenography and light design: Nina Kay
Actor: Petronella Barker, Kim Atle Hansen, Marina Popovic and Lars August Jørgensen
Producer: Joakim Borgen
Oppdrag Renhold (2015)
Six-part noir radio drama for NRK (in Norwegian) written and performed by Pendry, about an immigrant cleaner who seeks revenge upon her cruel upper class Norwegian employers.
Myke Øyne by Kate Pendry (2016)
Soft Eyes is a short and intense theatre performance about the refugee crisis.
The piece is based on the newspaper headline “71 dead in a truck in Austria” and addresses both the people fleeing and those who receive them. It meets the audience with a mix of facts, poetry, and associations linked to one of the greatest humanitarian crises of our time.
In an overwhelming flood of information, it can be difficult to navigate — and easy to be pulled toward extremes. Soft Eyes aims to create a space for reflection among young people, where they can process and begin to understand the ongoing displacement of millions.
The use of the truck’s cargo hold provides a physical entry point to the theme. Victorian costumes, stilts (kothurns), and polyphonic speech offer the audience multiple layers through which to interpret the poetic and direct text. The truck rumbles and shakes. It's hot and cramped. The physical setting alone offers a glimpse into what far too many endure in their search for a better life.
The Austrian author Stefan Zweig once wrote in an unpublished manuscript: “Our greatest debt of gratitude in these inhuman times is owed to those who affirm what is human in us — those who urge us not to abandon what is most unique in ourselves: our innermost being.”
The project is based on a text by Kate Pendry, written in response to the refugee situation in recent years. The performance is carried out by four actors inside the cargo hold of a trailer.
Produced in collaboration with Scenekunst Østfold, the production has been performed for more than 8,000 young people across Norway.
The Rest in Silence by Kate Pendry/Hege Haagenrud (2016)
In dialogue with four dancers on stage and a soundscape composed especially for the performance by Jenny Hval, the voice of the British actress and performance artist conveys fragments of a traumatic childhood. In conversation with the choreographer, Kate reflects on how her upbringing and her relationship with her mother continue to shape her self-image today.
Movement and biography — but also fiction and non-fiction — intersect in this full-length performance. The dancers move in response to the dynamics of Kate’s voice. It’s almost as if they don’t need to understand the words. They dissect the body, piece by piece, like an animal on the butcher’s table.
In The Rest Is Silence, choreographer Hege Haagenrud seeks to explore the private as a phenomenon — because it holds universal relevance in a world where most people actively stage their private lives through social media.
Credits:
Choreography: Hege Haagenrud
Concept and manuscript: Mads Sjøgård Pettersen og Hege Haagenrud
Dramaturgy: Mads Sjøgård Pettersen / Gry Ulfeng
Voice and text:Kate Pendry
Dancers: Ingrid Haakstad, Stian Danielsen, Marie Male Kalstø og Anne Lise Pettersen Rønne.
Sound/ composition: Jenny Hval
Sound design: Håvard Volden / Alexander Rishaug
Lightdesign: Norunn Standal
Scenography: Carl Nilssen-Love
Costume: Camilla Dingsøyr / Hege Haagenrud
Supported by: Norwegian Art Council, FFLB and FFUK
Human Tsunami: Trump BY PENDRY/PETTERSEN (2017)
A 90 minute solo piece of documentary/gonzo theatre about Pendry’s trip to Washington DC in January 2017 to witness the inauguration of Donald J. Trump as 45th President of the United States.
The piece follows the chronology of the days leading up to the inauguration , the inauguration itsself and the marches the following day. The dramatic ‘pillars’ of the play are Washington’s historic monuments: Arlington Cemetery, Lincoln Memorial, the graves of the Kennedy brothers, the Trump Hotel and the White House.
The piece can be regarded as ‘gonzo theatre’, where the artist as observer is also placed into the events, both as a witness and (unwilling) character.
Credits:
Performed by: Kate Pendry
Concept: Mads Sjøgård Pettersen, Kate Pendry
Manuscript: Kate Pendry
Film: Eirik Evjen
Performance photos: Mads Sjøgård Pettersen
Location photos: Eirik Evjen
Ode to a Mad King by Kate Pendry/Audun Aschim (2017)
Music piece for big band in collaboration with composer Audun Aschim Steffensen was a rapid response after Trump’s inauguration in 2017. The event in Washington seemed so bizarre that it was fitting to allegorise it with all the outré, collaborative expression of a brilliant big band.
President Trump / Ode to a Mad King
Libretto: Kate Pendry
Music: Audun Aschim Steffensen
Norwegian Academy of Music Big Band, conducted by Eckhard Bauer
Goodbye America by Kate Pendry (2018)
Goodbye, America
In the documentary monologue Human Tsunami (2017) Pendry took us on a journey to Washington in January 2017 to witness the inauguration of Donald J. Trump.
Goodbye America is a new version of the play, taking us to the present day, including Trump's 2018 visit to the UK, and a look at how the Trump presidency is affecting us all, as the abnormal becomes normalised, 'truth' no longer exists, and social media echo chambers seem to threaten the basic concept of democracy.
Written and performed by: Kate Pendry
In collaboration with Hamar Teater.
The Breakdown (Sammenbruddet) by Jo Strømgren/Kate Pendry (2019-2020)
Who owns history? What of private history? We meet a broken woman who’s genetic passport has been stamped by multiple ancestors. Following her story back in time and geographical bends we try to find reasons for the mess that stands before us in the present day.
THE BREAKDOWN is a little wooden boat that tries to navigate the stormy seas of a woman’s identity and physiology – where all that she is is also all that her mother, grandmother and great-grandmother were. We ask the ultimate question: What the fuck happened?
THE BREAKDOWN is a tribute to both reason and imagination, featuring an actor and a dancer, a table with a stack of old encyclopedias, and enough whiskey to carry the thoughts as far as necessary.
Credits
Performers: Kate Pendry, Vilde Viktoria Madsen
Text: Jo Strømgren, Kate Pendry
Direction, choreography, set design: Jo Strømgren
Costume design: Bregje van Balen
Lighting design: Stephen Rolfe
Sound design: Ola Erik Blæsterdalen
Music: Richard Wagner, Anton Karas, Minassian, Lévon & Friends, Lill Lindfors, Gustav Mahler, Jagger & Richard/Ananda Shankar, Zarah Leander, Carlos Gardél, Alfredo Le Pera, M. Battistella, Aha.
Supported by: Arts Council Norway, Oslo Kommune
Enemy of The People by Lemur/Kate Pendry (2020)
Enemy of the People by LEMUR + Pendry is a theatrical rendering of a complex and multilayered composition of text, music, light, and sound — performed in a stylized scenic space by outstanding performers. The project is built on the friction between two contrasting artistic forms: we stretch the predetermined nature of dramatic text toward pure, abstract sound, while simultaneously pulling music — traditionally devoid of referential meaning — toward direct significance, narrative, and scenography.
This dual challenge pushes Pendry, as playwright and performer, and LEMUR, as composers and musicians, into radical territory where methods are redefined and the truths of their respective practices are put to the test.
The performance is based on a juxtaposition of Henrik Ibsen’s An Enemy of the People (1882), in its first English translation from 1888, the Jaws screenplay by Gottlieb & Benchley (1975), and Pendry’s Jonestowntexts (2018). Parallel to this textual layer runs a tripartite musical structure: Edvard Grieg’s Sonata for Cello, composed the same year as Ibsen’s Enemy of the People; John Williams’ original Jaws soundtrack from 1975; and Lemur’s Karyobin from 2015. These titles form two parallel threads through the temporal universe of the performance.
Kate Pendry’s Corona Chronicles - podcast (2020)
Performance artist and dramatist, Kate Pendry, reflects on how the challenges of Covid 19 are met in three different European countries, Norway, Austria and Great Britain.
By examining the response to the Corona virus in said countries, Kate provides a fascinating monologue in which the listener is presented a sharp and entertaining comparative analysis of an ongoing global crisis.
Written and presented by: Kate Pendry
Music by: Eivind Strømstad
Produced by: Sea Shell Media
SPOTIFY
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Ensemble work with other companies
2012 - present dayWith Alan Øyen’s winterguests at the Norwegian l National Opera and Ballet (DNOB): America Trilogy / Coelecanth / Jingle Horse / Hamlet Complex / Nothing Personal /
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2019 - present day
Hamar teater - Summer Shakespeare at Atlungstad Brenneri: Midsummer Night’s Dream, As You Like It, Much Ado About Nothing, The Tempest, Measure For Measure.
