No Pasáran! was the final performance of my first year at York St John University. At the time, I was a performer who had just been introduced to contemporary theatre—the type of performance at York St. John was a departure from the theatre I had been doing for the majority of my life, and I was naturally dubious from the offset towards the rehearsal process.

No Pasáran! was different for me as a performer in that it taught me the majority of my approaches to theatre now. The rehearsal process was one that I have adapted and now use for my performances, whilst the workshops involved built my confidence with performing contemporary theatre. Whilst I was naturally often confused as to where the process led at the time, No Pasáran! was the first step for me as a performance to move past my preconceptions, to be a more open minded, and adventurous performer.

Similarly, No Pasáran! was my first introduction to political theatre. The subject matter—the bombing of a civilian market town in Basque was heavy in both tone and content from the offset; the weight of which we were all aware of. It gave me interest in the notion of political work that speaks volumes to society, whether that message is to share the story to a new audience, or in the case of No Pasáran! a loud scream in the face of its audience that it should never happen again.