Achinoam Mendelsohn’s debut work premiered in 2022 at the Akko fringe theatre festival, where it won the best play and directing award.

In her poetic horror ritual, Mendelson oscillates between the sensual-pagan realm and the autobiographical sphere. She burns a sacrificial lamb – the Great Mother, who is not only a symbol but also her own personal mother, who has been a devout worshipper at the altar of theatre her entire life. On her journey to reclaim the stage and the theatre, Mendelson uses everything but the kitchen sink: excerpts from classical plays, musical traditions, a purloined taxidermy crow, and a chandelier of mysterious origin.

“Mom took me to a show. “You’ll love it, it has masks.”
An actor in a mask got off the stage and started going through the audience.
I was four.
He had a huge grin plastered across his face.
I tried to disappear into my seat, but he reached out, swung me in the air and declared: “Found it!” My limbs dangled all over the place and I screamed “Down!” The audience laughed in delight.
My mom also laughed. “No need to panic,” she’d always say. “It’s only theatre.”