Amit Noy confronts the interplay of generations – within his own family.

A grandmother, two parents, and two children assemble onstage to negotiate life in the aftermath of violence. A Big Big Room Full of Everybody’s Hope explores the intergenerational relationship and memory held between bodies.

Through movement, language, and song, the performers transform familiar materials with wry and tart wit. Genocide, ballet, and musical theatre are taken apart and reconstructed, as the piece asks: how does the history we inherit animate our bodies?

Alongside his parents, Amit Noy performs a ‘chewed up and spat out’ version of George Balanchine’s iconic Agon, challenging the hierarchical exclusions and rigidities of classical ballet. His teenage sister Maytal Noy rewrites musical theatre tunes to depict her life with obsessive compulsive disorder. Amit’s grandmother, Belina Neuberger, challenges us to reconsider our personal and political practices of memorialisation, reflecting on teaching in a high school beneath shadow of genocide.

These disparate materials are held through the thread of a family. How do bodies live and move together, when some have given birth to others?

Supported by The Peacocke Trust & Institut Français

Header image description: Four people gather together. A couple are sitting, the mans arm around the woman’s and they stare into the distance. Another couple stands behind them, arms round each other and staring in the same direction. They wear smart clothes in light colours except for one woman who wears a bright orange dress

Header image © Thierry Hauswauld