But he believes that the company’s ability to switch effortlessly between forms comes from their training under the legendary Jacques Lecoq, and from often working with many of the same actors. The company has two artistic directors – Paldi and George Mann – who take it in turns to direct projects and have very different interests: “I love words, and George’s physicality is very strong,” says Paldi. ‘I’m against violence, but how else can Milagros make people take notice of what has happened to her town?’ … Bucket List. Unlike many companies, there is no such thing as a house style, and they range widely: 2011’s Translunar Paradise was a mask and mime show about bereavement and the loss of the self, while 2014’s not entirely successful Light was a dystopian wordless examination of state surveillance inspired by the storyboard style of a graphic novel. Theatre Ad Infinitum has always been interested in questions of social justice and politics, but what marks the company out is how distinctively different each and every show is that they create. Even if you think what she is trying to do is a terrible idea, you’re still faced with the question: how else can she make people take notice of what has happened to her and her town?” It’s the same for Milagros in Bucket List. “I’m against violence, but you can’t grow up in Israel without understanding why some people think that it’s the only way they can bring about change. “The occupation has done such damage to us all, Palestinians and Israelis,” he says. Risking offence … Theatre Ad Infinitum’s 2013 show The Ballad of the Burning Star. He was raised in Israel, and his experience of the occupation and what that means for both Palestinians and Israelis fed into 2013’s The Ballad of the Burning Star, an award-winning show that began with a bang and risked causing offence with its garish drag cabaret style and a story– clearly inspired by Paldi’s own experience – of a Jewish boy who comes to understand that he is both victim and oppressor. Paldi has lived with these questions every day.
In rehearsals the word terrorist popped up pretty early on.” It raises questions about whether or not violence is ever justifiable. But of course what they are rooting for is for her to succeed in her determination to kill. “In some ways Milagros is like a Disney heroine – as the piece goes on the audience are rooting for her against the odds,” says director Nir Paldi. Bucket List, which opens at the Pleasance Dome on the Edinburgh fringe in August, is a nightmarish anti-fairytale that will chime with anybody who has found themselves suffering a great injustice, discovered that there is no redress because they are small and poor and have no voice, and knows that those responsible are rich and powerful.
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