Lowlands is an eastern-european OUR TOWN set in Ceausescu's Romania. Panaintes modular dramaturgy releases voices from ou collective consciousness and creates performative space to witness our silences morning fresh and decades old. Lowlands is both a memory play and surrealist vision animated from a child's perspective. It is with awe and love that we call on community to gather around this version of Herta Müllers text on its 40th anniversary of a first publication. Together with her words we will celebrate the divine resistance that girls carry in their soul the world over for all of us.

The threads of the past and present collide and interweave as four friends and their families take radically different paths in an effort to give themselves new lives after the dissolution of their home country. The protagonist ("She") is at the center of this web, listening to those who have stayed and tried to build new lives in the shadow of violence; to those who immigrated thousands of miles live and simultaneously in the open and in isolation; and to her teenage goddaughter, who wants to know what's wrong with all of these adults and when She can visit. Who are you when your home no longer exists on a map? Can divorce stop the cycle of violence?  Is her mother's phone bugged? If so, why won't she stop calling?

In a kindergarten changing room, a rubber bat vanishes into thin air, setting off a chain of events igniting suspicion and resentment among the parents. What begins as mild distrust soon turns into full-blown hatred. The story unfolds, through a series of quotidian yet deeply resonant scenes, into a darkly humorous tale of absurdity from Central and Eastern Europe. Against a backdrop of comedic chaos, it poignantly portrays the stark realities of contemporary Hungary. “The Bat” offers a biting commentary on a Hungarian society marked by hatred, recrimination, and ultimately sorrow.

Timelessness, anti-dialogue and an atmosphere of suspense. Any Spot with Marks Left Behind is a play that has the intonation of contemporary absurdism. The heroine finds herself in someone else’s apartment and doesn’t remember how she got there. Strange sounds out of nowhere, overly friendly hosts and uncomfortable silence. The play has two acts that are radically different: by the end, the collective unconscious is transformed into a search for self-determination. The playwright explores the origins of violence, social and personal norms that do not always reflect reality.