A formidable work by Caryl Churchill, performed for the first time in Italy, it is a particular story that examines the profound sense of unease that our world generates in every single moment of our lives, even the most irrelevant. In the midst of a suburban summer, four seventy-year-old ladies are chatting more or less calmly about TV series and hip replacements, birdwatching, small but deep-rooted phobias, past crimes and family relationships that are heading for the rocks. In the apparent stillness of the garden, another time-line snakes in, almost leading our characters to have to work together to fool time in a sort of “foretaste of the afterlife”. An apocalyptic scenario from the near future literally explodes on stage - almost, almost, impossible to imagine - one that is disastrously funny but which, like a landscape painted with progressive and unforgettable brushstrokes, ends up resembling the extreme and visionary consequence of our present.

Caryl Churchill (1938) is considered one of the most important contemporary English playwrights. Her works have earned her the Obie award (Top Girls, 1982), the Obie and Hollywood Dramalogue Critics Award (Cloud Nine, 1981), the Susan Smith Blackburn Award,(Fen, 1984), another Obie and Olivier Award for best play, The Evening Standard Award for Best Play, the Plays and Players Award and the Susan Smith Blackburn Award (Serious Money, 1987) as well as the Sustained Achievement Award for theatre in 2001. In 2010 Caryl was appointed to the American Theatre Hall of Fame.

“We all initially imagined an INCIPIT - explained the three curators Marta Cuscunà, Marco D'Agostin and lacasadargilla -, the reading of ESCAPED ALONE by Carly Churchill, a work never before performed in Italy and the singular story based on the profound unease that our world generates in every moment of our lives, even the most insignificant. We wanted to allow the formidable words written by the greatest English playwrights - who by no coincidence chose four seventy-year-olds to present this dark tale, a blend of prediction and anathema for the spectator - to open our programme. For this, we chose to take to the stage in the company of Milena Vukotic. In order to guide the spectator, we then chose three perspectives from which the word sustainability could be viewed, three “conceptual cases” - not seen as the chronological structure of a programme, but rather as a horizon of reflection - on which OGNI VOLTA UNICA LA FINE DEL MONDO is based”.