Easy Rider reflects upon faith, tradition and delusion. Eva Recacha looks at the human compulsion to engage with superstitious beliefs and practices in the pursuit of happiness and draws on first-hand observations of ritualistic behaviour in her native Spain. Easy Rider is a theatrical rite unravelling the pure essence of our need to belong. It reflects our own beliefs and passions in a raw and haunting way.

"Conviction and Daring in Eva Recacha’s Easy Rider.

Easy Rider’ simple stage properties create the atmosphere of a bullfight, a Holy Week procession, a confessional reality-TV show.

Sikorski […] seems to undergo transformation during the course of the piece. She appears to grow in stature. Bespectacled at the start and wearing a white frilly blouse, she will later shake herself out of her jeans by flapping around the floor like a fish to reveal the gold trousers underneath.”

Text extracts from John O’Dwyer ‘s review of Easy Rider for ‘Seen and Heard Interntaional.

Choreographed by: Eva Recacha

Performed byAntonio de la Fe, Lola Maury, Alberto Ruiz Soler, Eleaonor Sikorski

Set and Costume DesignKasper Hansen

Costume Maker and Supervisor: Sophie Bellin Hansen

Sound artist: Alberto Ruiz Soler

Lighting Design: Jackie Shemesh

Production manager: Marco Cifre Quatresols

Text: Eleanor Sikorski

Three wise men, DJ god on stage, a rising yellow piñata star, a yellow towel, a pair of gold and of black sequined leggings.

The design for Easy Rider needed to go on a journey from a self-righteous purity and belief to the darkest and wildest desires and sins. It had to switch between prayer, flagellation, Christmas carols, the creation of Christ and icons and the release of demons.

The performers all underwent gradual costume changes throughout as they shed their layers. The top layers were demure and referencing the colours of the Virgin. Bold colour was revealed as the piece developed to finally exposing excess flesh, animal print underwear and gilded leggings.

A grey dance floor allowed for the world of purity to descend into hell with the help of lights, oversized wind machines and smoke and a platform filled with spiritual artifacts, speakers and a PC wielding DJ was both alter of the Devil and God.

Eva Recacha’s chorographic process happened through a very gradual development and the design advanced organically alongside it with regular visits in rehearsal.