Dijana is a victim of crime, a victim of gross inhumanity. But she is not a victim in herself. She has survived. Shis is broken, maybe to the point of irrepair, but she keeps going, she finds coping mechanisms, lies to herself, yes - but is still telling her own story, still trying to work out the world she finds herself in, still battling.
Performed by Hara Yannas and Madeline Appiah, the audience discover what captivity can do to you, the particular effects it has on women, their coping mechanisms and the kind of relationships they form.
It felt empty when the heart went at first bit it is alright now ran from 7th - 31st October in Arcola Theatre in 2009.
Erin Gavaghan is an experienced executive arts manager who has worked within both new writing theatre and contemporary dance / choreography.
Erin has been Executive Director and joint CEO of Clean Break since October 2018. Previously at Siobhan Davies Dance, she held several roles; most recently as Executive Director (from 2014). Prior to that, she was the General Manager of Soho Theatre (2008-2012), having also followed a path of progression from Front of House Manager (2005-2007) and Deputy General Manager (2007-2008). Since moving to London from Canada in 2000, Erin has also worked at the Royal Albert Hall as the Stewards Administrator and Natural History Museum managing catering services.
Erin studied English Literature and Theatre (Directing) at the University of Victoria (Canada) and attained an MA in Arts Policy and Management from Birkbeck in 2005. She has a passion for life-long learning.
Anna Herrmann has been working in the field of theatre and social change for twenty seven years, specialising in theatre and education with marginalised groups in the UK and abroad. She has been with Clean Break since 2002 as the Head of Education, leading the company’s award winning work with women in the criminal justice system and women at risk of entering it. Anna is co-author of Making a Leap: Theatre of Empowerment: A Practical Handbook for Creative Drama Work with Young People (Jessica Kingsley Publishers). She has an MA in Arts Education from Royal Central School of Speech and Drama and a PG Cert (Distinction) in Race and Ethnic relations. She is a regular visiting lecturer on Applied Theatre courses at Universities across the Country and between 2006 and 2018 was a trustee of Leap Confronting Conflict; a UK based national charity specialising in youth and conflict. Anna sits on the Steering Group of the National Criminal Justice Arts Alliance and is also a trained coach and regularly mentors artists in participatory settings.
Róisín McBrinn is a theatre director with over fifteen years experience working in the UK, Ireland and internationally. She has been with Clean Break since 2016 as the Head of Artistic Programme and during that time has directed Joanne (Soho Theatre and RSC) and House/Amongst The Reeds (Yard Theatre) for the company. She was formerly Associate Director at Sherman Cymru where she oversaw the commissioning and developing of new Welsh writing. Róisín has directed for the Donmar Warehouse (Noveccento), Sheffield Theatres (Afterplay), West Yorkshire Playhouse (Yerma), Prime Cut (Villa/Discurso), The Abbey Theatre (No Escape, Perve, Heartbreak House). She has developed new work for Soho Theatre, The National Theatre, The Bush, The Abbey and Sherman Theatre. This summer she is directing a stage adaptation of Roddy Doyle's The Snapper for Dublin's Gate Theatre.
With her huge, sensitive eyes and her delicate frame, the beautiful Hara Yannas is magnificent in the role. She is piercing, yet absolutely true to the script's conception of this girl as a grotesquely abused victim of one of capitalism's more hellish tricks, but not always a victim in her own mind's eye.
Paul Taylor - Independent
This is so much more than the sum of its parts, and Dijana (a heartbreaking and mesmerising Hara Yannas) is no stereotyped victim, but a complex creation – a woman full of bravado and yet so vulnerable that if you touched her, she might crumble to dust.
Lyn Gardner - The Guardian
This modern-day take on the slave trade is emotionally draining - a testament to Kirkwood’s writing, Morrison’s direction, the cast and all-female production team.
Jackie Cobham - The Telegraph