As a little girl my mother used to take me with her to her fittings with her very expensive seamstress. I was dazzled by the beauty of the fabrics an… - Angelique Rockas

The great British 1950`s theatre critic Ken Tynnan, described the theatre as “an independent force at the country`s life , a sleeping tiger that can and should be roused whenever the national (or international) conscience needs nudging”. And Griselda Gambaro`s EL CAMPO does just that. It is a savage protest against the indignities imposed on modern man and woman by the impersonal bureaucracies and dictatorships in a language of poetic and startling originality. In the figure of Emma, the tortured artist, the part I played, we find expressed an outcry against the imprisonment of artists and the suppression of artistic freedom.

Theatro Technis in North London, where the issues of prejudice against immigrants, the poor, the illiterate were dramatised , and more urgently the exploration of the war crime that constituted the illegal invasion by the Turkish military of CYPRUS, and for which the USA ( especially the diabolical Kissinger ) and the UK had little concern, as the president of Cyprus was the Orthodox Archbishop Makarios, who had the reputation of being a bit of a red.
This was a theatre company that practiced political theatre in its purest form! I found myself performing a Greek Cypriot peasant woman driven from her land in the North of Cyprus and expressing her grief at the loss of her home in front of an audience that included refugees who had suffered the same fate but had managed to escape to London. The tears just flowed naturally. It was also at this theatre that I tackled the Mount Everest of acting parts – Medea(play) by Euripides, and which I performed to great reviews and was the performance that put me on the London map as an actress. The whole play was interpreted politically.

The reason the Internationalist Theatre productions demanded attention was that the directors who had already worked at top theatres like the Royal Court and the Royal Shakespeare Company had agreed to take the risk of directing classical plays with multi-racial casts , that the performance was of a very good standard, and furthermore that many prominent members of the arts establishment, Lindsay Anderson, Cameron MacKintosh, John Barton, Richard Eyre, the great casting director Mary Selway, Stephen Berkoff, Nicolas Roeg , came to see performances by Internationalist Theatre.