Two international theatre productions brought to Central Asia.

• LIES, March 2019
• Fight Night, December 2021

Both projects are part of a new reading of theatre: direct interaction with the audience, unfamiliar formats, and a different way of looking at very familiar situations. For me, these productions are real gold of contemporary theatre and bringing them to Central Asia felt important.

The general producer secured the rights and initiated the collaboration with Ontroerend Goed. I handled the on-the-ground work: planning, production, local teams, and delivery.

What I’m proud of

These shows introduced a format that simply didn’t exist locally before. Not “big theatre”, not spectacle — but proximity, risk, and involvement. We brought some of the most interesting contemporary productions to Central Asia, and made them work here.

During Fight Night, there was a moment when the voting system – a core part of the performance – failed to behave as expected. We had hours, not days. The solution we built was slightly improvised, slightly hacky, but clean enough to preserve the integrity of the show. That moment still feels like real producing to me.

There’s also something quietly personal here:

If these projects hadn’t happened, the loss would be cultural: beautiful productions simply not seen. And on a smaller scale, I wouldn’t have stepped on stage myself in LIES. That mattered to me more than I expected.

This was invisible work. There are no curtain calls for it. But I know these shows happened because I was there and I’m proud of that.