Henry Naylor’s play Borders tells the story of an “unnamed” 6-year-old Christian girl who sees her father captured and killed on a playground in Syria. She grew up in Syria under the reign of Assad. As she gets a little older, she begins to protest against the government’s increasing risk-taking. In parallel on another plastic, Sebastian, a young idealistic photographer, is struggling with his career. He takes pictures that no one wants. He gets the opportunity to accompany a famous journalist and take pictures of a warlord, but it’s not until 9/11 happens that the images are noticed. He finds himself in a celebrity photographer carousel, but it doesn’t go well. It’s not about his photos that change the world.

Inès Cherif and Tobias Aseplin are very intertwined, even if there are two parallel stories that are only woven at the end. Present, intense, touching and touching, they directly touch the hearts of the public. Feelings that can’t be defended. Simple scenography and powerful lighting design enhance the personal and intimate feeling.

With the Russian invasion and the war in Ukraine taking place just days ago, Borders is even more tangible and uncomfortably topical. The timing of the premiere is awfully fair, but much like the photographer, Sebastian, it’s just about being in the right place at the right time. Art is at its best when it touches and arouses emotions and thoughts.

Borders is playing until April 6, and I highly recommend you check it out.

Tickets are on sale at:


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