Almost There is an intimate performance by Nofar Sela. A meeting with an artist who isn’t there. Over coffee, through headphones, Sela shares her experiences as a mother living in Jerusalem during the ongoing war, and takes you on a voice-guided journey from her world into yours. In her absence, Sela leaves you a hand-drawn notebook. As you listen, she asks questions for you to contemplate and answer: “What do you try to keep safe from harm?” and “Have you ever made peace with anything?” The notebook becomes your own, a gift from someone you never met.

“I couldn’t meet you because I was afraid the war would stand between us,” she confesses. Almost There explores the fragile wish to preserve innocence, a mother’s urge to protect her child, and the human longing to keep reaching across divides, even in times of fear.

Almost There Premiered at the Berliner Festspiele, May 2025.

Photo by: Constanz Flamme

Set in the living room of an elderly Israeli couple on the fateful morning of October 7th, the play follows Rivkaleh and Eliyahu, members of the founding generation of the State of Israel. Their fervent desire is to contribute in combat clashes despite the limitations of their advanced age. In the spirit of the absurd, they attempt to decipher reality: they don’t understand why time has stopped, where the grocery store has gone, or what is the burnt smell permeating their living room. Their personal memories mix with collective ones, as they cling to their enduring love story in the face of loss and trauma. Thus, the play illuminates Israel’s emotional and psychological landscape today.

Photo by: Mark Stranger

On a Silver Platter is a play for adults, told from the perspective of children. A boy and a girl meet by chance in a playground. When the sirens wail, they try to help each other hide from missiles – and from reality.

Painful sharp truths become softer in children’s words, almost tangible. For a child, the line between good and evil is so simple. Like The Lion King: the evil uncle kills the good father, there is pain, the circle of life moves on, and ultimately, good triumphs. But a question lingers since October 7th: What does winning matter, if Mufasa is already dead?

On a Silver Platter is an absurd poetic comedy that wishes to enthrall the heart, and at the same time smooth it. It flows on a current of humor that slowly dives into the pressing questions of the present: the place of naivety in times of war, and the capacity for empathy. 

Photo by: Guy Hazam

06:29, sunrise of a new day, the trance beats on the dance floor are replaced by Code Red warnings of rocket fire, the party breaks up, and everyone runs for shelter. Ten young people who returned from the Nova Festival discover that the road to recovery is still long. Every motorcycle noise sounds like a siren, a ringing phone startles them, and even questions and glances are triggers. It is only in a healing, protected, and intimate space specially created for Nova survivors that they venture to confront their trauma, and regain control of their lives. 

A heartwarming play sprinkled with humor, where the audience is part of the characters’ healing journey. At the end of the play, the audience is invited to a conversation with the survivors. The play is a rare opportunity to look trauma in the eyes, and to be exposed to inspiring stories about courage, faith, and choosing life.

Photo by: Yifat Gabay

One event, one family, three generations.

In September 1982, my father was taken prisoner. It happened before he was my father, while he was the son of his mother, Grandma Miriam. From the moment I was born, the phrase “I am the daughter of a released POW” defined me even when I didn’t want it to.

Today, 42 years later, when it seems that reality is repeating itself, I choose to stop, step onto the stage, and create an event that tries to bond three perspectives, three stories that begin at the same starting point.

Peace and Love is a story about a family, about the whole, and the cracks in it. It is an attempt to find what exists within the loss.

Photo by: Refael Shachari

After October 7th, Nataly and Atalia sit on the grass in the kibbutz. Long-time friends, they speak about their children, and the children they still hope to have. How can they dream of the future at a time like this? Their answer is to act.

Through a unique theatrical language that merges autobiography and documentary, they invite guests to the stage: Palestinian performer and educator Samaher Badarna Mansour, historian Dr. Arnon Degani, who traces historical narratives and concepts, and Dr. Chen Alon, activist and co-founder of Combatants for Peace, who joins them in imagining a different tomorrow. Others may appear unexpectedly, continuing the conversation on the grass.

This live encounter blends dialogue, reflection, and presence. It is a documentary performance that searches for hope in the midst war, while looking back to the 1990s – a decade when Israeli society still held a fragile memory of peace, and the possibility of genuine partnership with Palestinians, within Israel and beyond.

Photo by: Eyal Tagar