Pandora’s DropBox

At Pandora's DropBox (premiering 2017), Katja Heitmann presents the perfect man in a perfect world. A world in which all misery has been put back into Pandora's box. Six performers are tasked with maintaining balance at all times. Every movement is executed with the utmost care. Every conflict must be avoided. Every action must maintain or even enhance the harmony of the composition. Can a human being become a perfectly conditioned machine? Is there such a thing as ‘correct choreography’? Is theatre still theatre if there is no conflict? Can you be sad about the loss of sadness? Pandora's DropBox is a serendipitous and catastrophic exploration of the limits of human control.

Theatre newspaper **** Pandora's DropBox, Wendy Lubberding
Plato, Nietzsche, Hannah Arendt, care robots, YouTube vloggers: they all wonder what it means to be human. Katja Heitmann joins this list with a study that makes you feel how hard it is to be human.

Volkskrant **** Pandora's DropBox, Mirjam van der Linden
Snot, sweat and tears are not choreographed either. Heitmann's robotic people become pitiful in a very subtle way. This ambiguity is telling and very beautiful. Here, people dance trapped in their bodies and ambitions.

NRC Pandora's DropBox, Francine van der Wiel
(...) the iron concentration of the six dancers on the hexagonal playing field grabs the spectator. (...) That's how sad and lonely perfection is. This is also how the distorted songs “Ich bin allein in meinem Himmel” sound. Perfection does not tolerate feelings.