A bold yet uneven stage production at New Diorama Theatre in London is interrogating the way Western media covered Israel’s actions in Gaza after Hamas’s cross-border attack on 7 October 2023. Titled The First Year (of the Gaza Genocide in the Media), the show draws from testimonies collected from Gaza and poses difficult questions about journalistic access, live-streamed imagery, and the ethics of war reporting. While its intentions are urgent and politically charged, the execution sometimes struggles to balance factual delivery with theatrical form.
Created by the British-Romanian collective BÉZNĂ Theatre, the piece runs for 90 minutes and features a cast of four performers who shift between satire, song, drama, and documentary-style narration. Blending performance styles—including poetry, history lessons, and meta-theatre—the production attempts to mirror the chaos and complexity of modern media consumption during wartime. Despite strong artistic ambitions, critics suggest the work often becomes overwhelmed by its own density of information and stylistic changes.
Key Facts
- The First Year (of the Gaza Genocide in the Media) premiered at New Diorama Theatre in London.
- The production is based on testimonies from Gaza and reflects on media coverage following the October 7, 2023 Hamas attack.
- It was created by BÉZNĂ Theatre, a British-Romanian collective.
- The 90-minute performance includes satire, song, graphics, history, absurdism, and sincerity.
- The four-person cast performs mini-lectures, dramatized dialogue, poetic monologues, and meta-theatre elements.
What Does the Show Say About War Reporting?
Broadcasters and newspapers have faced intense scrutiny since October 7 for how they report on conflicts where independent journalists cannot freely enter contested zones like Gaza. The Guardian notes that this production uses personal accounts and mediated imagery to question what gets seen—and unseen—in mainstream news cycles. By weaving together real-time social media footage and archival content, the play underscores how audiences consume war through screens rather than direct experience.
With Western outlets relying heavily on official statements and citizen journalism due to restricted access, concerns persist over editorial bias, lack of verification, and incomplete narratives. The performance does not offer easy answers but instead invites reflection on the responsibilities of both creators and consumers of war-related content. Its fragmented structure mirrors the fractured nature of truth in conflict zones, challenging viewers to think critically about sourcing, tone, and perspective.
How Is the Production Received?
Critics praise the passionate delivery and moral urgency of the performers, particularly noting the diversity of voices represented across the cast. However, some argue that frequent shifts in style—between humor, tragedy, lecture, and drama—can dilute emotional impact or confuse messaging. According to The Guardian, the show raises vital questions but risks being overburdened by its ambitious format.
The script integrates historical context alongside current events, grounding Hamas’s October 7 actions within broader geopolitical tensions. Yet, without clearer segmentation or pacing, the narrative momentum wavers. Still, supporters say the experimental approach makes it one of the most thought-provoking responses staged in UK theatre since the escalation began.
What We Know — and What We Don’t
Verified by the source:
- The play is titled The First Year (of the Gaza Genocide in the Media) and opened at New Diorama Theatre in London.
- It is based on Palestinian testimonies and explores media coverage post-October 7, 2023.
- The creators are BÉZNĂ Theatre, described as a British-Romanian collective.
- The runtime is approximately 90 minutes with a cast of four actors.
- It incorporates satire, song, graphics, history, absurdism, and meta-theatre techniques.
Still unconfirmed:
- No specific details regarding box office sales or audience turnout were reported.
- The identities of individual cast members beyond names were not disclosed.
- It remains unclear if the show will tour beyond London in future months.
- Independent reviews outside The Guardian have not yet been cited.
Why It Matters
As public trust in traditional media continues to evolve amid global crises, artistic works like this serve as catalysts for deeper conversations about accountability, representation, and the boundaries of storytelling in wartime. Whether viewed as educational theatre or political commentary, such productions highlight the growing role of performance art in shaping discourse around international conflicts. They remind us that behind every headline lies human experience—and responsibility.
What To Watch
Future performances may draw renewed attention depending on ongoing developments in Gaza or shifts in press freedom policies affecting reporter access to conflict areas.