If you run fast enough, no-one will know where you are 8+

Als je maar hard genoeg rent, weet niemand meer waar je bent

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Winner of the Mime Award 2016

An absurd and disruptive theatre show in which everything is on the move all the time. A show that simply cannot sit still. Everything about it is constantly moving and making a noise. Even the lights are running on and off. The texts are stumbling over the costumes and grab onto the set pieces that happen to be just flying across the stage. As the seats somersault with a loud screech and the beginning of the show has already departed for the next venue, the players try to take cover for the upcoming ending. By now the audience will be looking around in bewilderment. Has anyone seen their show? Or is it all over already? You have to be fast if you want to see anything. Run!


The shows created by director Jetse Batelaan all share a philosophical streak and a layer of absurd comedy, which wow both adults and children. Batelaan has presented a host of shows at Tweetakt: Het geheven vingertje, Voorstelling waarin hopelijk niets gebeurt, or De man die alles weet. Batelaan has won many awards. Since 2013 he has been the artistic director of Theater Artemis. De dag dat de papegaai zelf iets wilde zeggen (his first show at Artemis) was nominated for the VSCD Mime award, and his direction for De man die alles weet won him a Silver Cricket award for best TYA production in 2014. In 2015 he received the theatre award of the Prins Bernhard Cultuurfonds Noord-Brabant “for a theatre director who really makes a difference”.

An absurd and disruptive fairytale."

Dagblad Trouw

Strange and quite funny. An explicit plea for busy, creative minds aimed at labels such as ADHD and medication like Ritalin.

de Volkskrant

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The Mime jury awards If you run fast enough, no-one will know where you are

Jetse Batelaan is steadily working on an impressively contemporary body of work that blurs the boundaries between plays for children and plays for grownups, and in which the theatre as a medium becomes part of the shows’ content. In Als je maar hard genoeg rent, weet niemand waar je bent, the show runs right across the theatre as a ‘sanctuary’, a place where people should keep still and pay attention, both physically and metaphorically. It has everyone in the audience, either young or old, on the edge of their seat. (…)

The whole notion of telling a story across the ages, the capturing of time passing, has been executed wonderfully in ways that could only exist in the theatre.

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