An explosive re-envisioning of the traditional Seder and re-telling of the Exodus Story, with dances, plagues, and a burning bush.

Spring 2009, La Mama ETC Annex Theater, NYC

Major support from The Six Points Fellowship

A noisy rebuke to the interminable family Seder… impressive physicality… excellent performers… genuine theatrical know-how
— New York Times
Haggadah rocks… Safer has created what will come to be seen as a seminal work in the history of Jewish theater…

This intensely physical piece puts the performers through their paces – an extended sequence where the entire cast runs in place for the entire 6 minutes and 36 seconds of Metallica’s “Creeping Death” (inspired by the band’s viewing of The Ten Commandments and its representation of the plague “the slaying of the first born”) is inspiring and exhausting. Haggadah, with its wrestling matches (the word “israel”, etymologically, can be translated as “wrestling with G-d”), a fantastic duet between Moses and Nefertiti where he rejects her advances and several dynamic group numbers, is Safer’s most physically adventurous and athletic work since Dancing vs. The Rat Experiment and in this case the physicality drives the piece with a sense of urgency and fun…

From the footage of Yul Brynner as Pharaoh radically edited to make him look like a queen working the runway to the hilarious staging of the burning bush and the cliffhanger ending Haggadah is an intelligent, enjoyable, exciting piece of theater. And historically it marks the moment where the gauntlet has been thrown down, where Jewish theater has been reinvented for the Information Age, and the next part of this millenia-long conversation begins.
— Culturebot
The dynamic dance-theatre piece grabs hold with an enticing playfulness. The momentum extends through to the end (and) it’s to Witness Relocation’s credit that it’s hard to imagine anyone wanting to be excluded from this retelling.
— Backstage- Critic's pic