” . . . The playful, experimental nature of the production was one of my favourite things about it. Performed against a plain screen hung in front of some scaffolding, there were few props; effects were achieved using lighting and handfuls of coloured powder flung into the air. Hanna Bjork and Maria Sendow coordinated the music which drove the performance – haunting folk songs and poems over cello refrains . . . a wonderful way to portray a difficult subject . . .”

The story itself is a fantastic mix of well-known fairly-tale motifs and new inventions. It shifts – or is shifted – seamlessly, from the gods and the cosmos to the familiar and domestic. As in the myths of Ancient Greece, gods roam the Earth and inhabit human forms. As in all good fairy-tales, familiar, pattern-building repetition is deployed and intercut with surprising twists and turns. Not one, but two epic quests are undertaken, grizzly sacrifices are made and the images and messages conjured by this magic act are as dark, as strange and as vivid as any of Hans Christian Anderson’s or Perrault’s.