REVIEW: Diaspora Inferno: From My Grandmother’s Kitchen by Elona Gagani at Drayton Arms 11 – 15 November 2025
‘A work of great intention and heart … but an uneven attempt to transform testimony into ritual performance’ ★★★
There are eight performers on the intimate stage of the Drayton Arms, surrounded by scattered brown leaves, dangling washing lines, and a backdrop banner warning the audience “not to expect any hope” in red letters. The scene evokes an atmosphere close to ‘Inferno’ — both domestic and desolate.
‘Diaspora Inferno’ is a physical theatre piece by an all-female ensemble that ambitiously reimagines exile, womanhood, and migration through movement, multilingual storytelling, and live sound. The sincerity of the team’s vision is unquestionable; their intention to honour the testimonies of displaced women is palpable throughout.
However, the execution doesn’t always meet the weight of its ambition. The performance, which largely unfolds without words except for fragmented testimonials in foreign languages, leans heavily on the audience’s willingness to decode its symbolism. While this alienating effect is clearly deliberate, it risks leaving the viewer distanced rather than drawn in. The dramaturgy often feels opaque, and the movement vocabulary could benefit from greater clarity and variation. The storytelling would be strengthened by a more refined physical structure and nuanced ensemble dynamics. One wishes the lighting design had been used more actively to guide emotional shifts and focus.
A work of great intention and heart, ‘Diaspora Inferno’ stands as a sincere but uneven attempt to transform testimony into ritual performance. With clearer physical dramaturgy and more confident pacing, it could evolve into something truly powerful.
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