Storefront City London

Archive for the tag “Theatre”

Dracula’s Guest

WHAT: Dracula’s Guest
WHEN/WHERE: UK Tour
PRICE: Varies depending on event

OUR RATING: Chance It!

This past Halloween night, Storefront City had a decision to make. After a busy and haunt-filled month of reviews, we felt pressure to choose our adventure on the 31st wisely, and thus landed on a bone-chilling tale of the undead creature of the night himself – Dracula. Making our way again to The Old Red Lion Theatre in Islington, we ascended the stairs to see Brother Wolf’s production of Dracula’s Guest, which has been on tour in the UK throughout the year. As soon as we entered the dark and cosy space, silent bar the sound of a music box, we were immediately arrested by the intimacy of the environment created pre-show. Before us was a man, his head in his hands, seated at a table carrying a rotting pig’s head. And so the evening began!

Under the helm of James Hyland (actor, writer, producer and director), and inspired by the writings of Bram Stoker, Dracula’s Guest presents an intimate scene between Count Dracula (Hyland) and Renfield (Ashton Spear), who in the classic novel is the unstable and devoted familiar of the vampire, and fully under his control. In Dracula’s Guest, however, we are taken slightly back in time, when Renfield has first been taken hostage by the Count, and has a life-changing decision to make in exchange for his freedom.

 

Credit: Brother Wolf

This production truly thrust us into the action, the simple yet compelling setting transporting the audience into the centre of Castle Dracula. Notably, compared to some other productions we’ve recently seen, there is deep seriousness about the creative framing of this piece and we soaked up the immersive atmosphere with trepidation. The narrative itself is a clear departure from the original short story by Stoker (which actually served as a draft and later deleted chapter of Dracula itself, and was published posthumously), but nonetheless provides an intriguing alternative interpretation and indeed introduces new material to ponder.

In performances that require a great degree of physicality, Hyland and Spear captivate us with their presence, both commanding and pitiful, respectively, resulting in a transformation of man into beast that seems all too real. Delving into issues that are present from a different perspective in the novel, we learn of how the fates of these two characters, human and undead, have been intertwined for centuries, culminating in a unique insight into Dracula’s past. The psychic interplay between them is arresting and becomes darker as their evil nature is revealed, resulting in a torturous situation that left us rightly uncomfortable.

Final Thoughts: Dracula’s Guest presents an assault on both the emotions and senses. Revulsion and sympathy are felt throughout, along with an unexpected twist that left us with many questions. Notable too was the sheer volume and violence of the piece. That we were left shocked by the blows wrought suggests that the realism achieved was excellent, but also demonstrates that one must have a taste for such blood to partake properly here. We struggled with various other aspects of the piece including that the pacing felt occasionally uneven and from time to time the characters appeared so very different that perhaps they did not belong in the same space. There are currently two more scheduled chances to see Dracula’s Guest in 2022, over at The Blake Theatre in Monmouth on November 24th and then at the Two Sisters Arts Centre in Felixstowe on November 25th. This is a production you can really sink your teeth into!

Frankenstein’s Monster is Drunk and the Sheep Have All Jumped the Fences

Credit: Neil Harrison

WHAT: Frankenstein’s Monster is Drunk and the Sheep Have All Jumped the Fences
WHEN: October 26 – 29, 2022
WHO: Big Telly Theatre Company
WHERE: Touring, currently at Omnibus Theatre (1 Clapham Common North Side, London SW4 0QW)
PRICE: £13 – £16

OUR RATING: Do It!

“He’s been dead for over a hundred years, is constructed from the dismembered body parts of a number of different corpses. He has a sense of perspective.” These memorable lines come from Big Telly Theatre Company’s newest hit show, a crash course masterclass in immersive physical theatre adapted from a short story by Owen Booth. At times comical, at others poignant, this 70-minute whirlwind story of love, loss, community and the struggles of otherness is a beautiful tale that had us enthralled from start to finish. 

Credit: Storefront City

This was our first time at Omnibus Theatre, the host for this show’s latest transfer. We fell in love with the theatre itself and the cafe/bar instantly, both having a comfortable but buzzing atmosphere. This multi-award-winning independent venue in Clapham, South London focuses on both classics re-imagined and contemporary storytelling, and has a huge programme on offer year-round. Sporting more than one stage, Omnibus is currently scheduled to host everything from poetry nights and monthly musical theatre cabarets, to larger productions such as an upcoming run of Richard the Second and a Norwegian puppet production in December.  

Credit: Neil Harrison

Meanwhile Big Telly Theatre Company, based in Northern Ireland, designs professional theatre productions, site specific, immersive games and participatory community driven projects, and this latest production has already travelled to the Belfast International Arts Festival, and will soon transfer to Broadway at 59E59 Theaters in New York from January 2023. The premise? In 1946, Frankenstein’s Monster was discovered frozen in the ice of a glacier, where he had hidden after his Hollywood success came to an end. Once thawed he meets a woman as tall and almost as monstrous as he, and together they forge a life together in a town that struggles to accept them. This provocative tale tells the story of their love, the painstaking process of acceptance in their small community, and their attempts to find their place in the world, both as individuals and as a larger-than-life couple.

Credit: Neil Harrison

The ensemble-of-four is powerful, with the hilarious and engaging narrators Chris Robinson and Vicky Allen keeping the momentum going the whole way through, and with the strong character and physical recreations of the Monster, Rhodri Lewis, and his wife, Nicky Harley. All four actors were perfectly in tune with one another, each bringing a different energy to the stage that flowed effortlessly with the others, and all creating this larger-than-life story full of comedic genius and beautiful storytelling.

Producing an all-encompassing experience, superb sound design by Garth McConaghie transports the audience into the realm of fantasy, with such a memorable score that indeed we continued humming the “theme” well into the evening. Although the set elements were minimal, this worked fabulously, with repurposed items folding seamlessly into the drama and lighting design that both surprises and delights, including a very clever piece of projection work. 

Credit: Neil Harrison

Final Thoughts: It’s rare that you see a decent piece of theatre based around such a well-treated subject as Frankenstein. This production not only morphs the known themes of the genre into something entirely novel, but also makes you consider the wider issues surrounding the acceptance of the other, tolerance, and the fallibility of all human interactions. Ending in an incredibly moving manner, Frankenstein’s Monster is Drunk and the Sheep Have All Jumped the Fences is one of the best experiences we’ve had recently in a theatre that traverses the full emotional spectrum in all its beauty and horror.

The Sickness

Credit: The London Bridge Experience

WHAT: The Sickness
WHEN: 22 – 31 October, 2022
WHERE: London Bridge Experience (The Rennie Vaults, 2 – 4 Tooley St, London SE1 2SY)
PRICE: £26.95

OUR RATING: Do It!

It’s been some years since we’ve been to The London Bridge Experience and it appears that the space has undergone a complete and welcome transformation in the intervening years. At ground level, an extensive set of vaulted rooms comprise the Bermondsey Bierkeller, themed as a German-style drinking establishment, complete with long heavy-wood tables, party games, and surfeit flagons of ale.

Credit: Storefront City

The foyer for The Sickness is now a historical area with a set of pews. Once you’re ushered downward into the main event, the experience is a set of zones, based around the idea of Dr Natas’ psychiatric institution. Opened in 1939, this facility was said to conduct some fairly “experimental” treatments and it’s your task to escape both the dear doctor and the patients. Vignettes featured the doctor himself, a deranged surgeon (watch out for fluid spray!), the infamous Plague Doctor, and a rather naughty barmaid.

Credit: The London Bridge Experience

Then, it’s onto the Tombs proper for the true test of terror. While the upstairs part of the attraction are creepy theatrical experiences, the tombs are your classic haunt-style labyrinth. Winding passages and occasional blackouts make this chilling, and the actors are not afraid to get up close and personal with their prey. In fact, one of our editors was grabbed and forcefully pulled aside, so watch out!

Credit: The London Bridge Experience

In terms of storytelling, we felt that there was little connection between the overarching narrative and the terrors we encountered below. Yet, the brilliant, fun, and committed delivery by the actors meant we soon forgot this as we were dashing towards the exit. One fellow in front of us was so terrified as to collapse in a fit of nerves once he was safely back in the Bierkeller. And what better way to soothe your nerves than to have a drink at their new Monster Bar or have a go at one of the several games downstairs – we love us a bit of shuffleboard! 

Credit: The London Bridge Experience

Final Thoughts: We attended this event as part of the press launch and took the tour with a large group of young influencers – as such we unfortunately spent the tour with a majority of the group talking when the actors were trying to speak, and also waving their phones about and filming the entire time. But while this certainly impacted upon our experience, we did try to make the most of this great event, and the actors did a great job in trying to control and interact with the kind of group we were in. All in all, it’s a super fun venture beneath the streets of London, and is definitely one of the scariest the city has. It offers the perfect group night out, with a solid 30-40 minute haunt followed by drinks, food, and games in a cozy and energy packed venue. 

The Burnt City

Credit: Punchdrunk

WHAT: The Burnt City
WHO: Punchdrunk
WHEN: March – 4th December, 2022
WHERE: One Cartridge Place (1 Cartridge Pl, Royal Arsenal, London SE18 6ZR)
PRICE: £55+
OUTDOORS: No

OUR RATING: Do It!

One of the highlights of being a reviewer is the ability to witness the unusual, the mystical, the bewitching. Our immersive theatre journey began over a decade ago and we have been both audience, producer, director, and performer across many projects. Back in 2013, we were fortunate enough to see Punchdrunk’s The Drowned Man, which was, for us, a formative moment of wonder in our theatrical education. As such, we were eager to experience their newest production, The Burnt City, a reimagining of the paramount moments of the Trojan War. Immersive theatre should not be spoiled by revealing too much, so forgive us if this review is a little more general than you’re used to.

Photo: Julian Abrams. Performer: Yilin Kong

Adam: It is undoubted that The Burnt City is a monumental undertaking. From the moment you enter, one is thrust into the past, traversing the millennia through literal museum displays into the vibrant and disturbing world of the Trojan War. You are enveloped in this world, and although the theming may be modern, the ancient details shine through; the neon glow of Mycenaean Linear B inscriptions dappling entrances in eerie brightness.

The archaeological remnants scattered about mirror the fractured storytelling, allowing the audience to piece together the narrative as if a shattered vase. Typical of Punchdrunk, this is a promenade performance arranged over an enormous area, which means you must have dogged determination to see everything (and, even then, it’s quite possible to miss certain scenes). The individual must interpret the vignettes as best they can, so it is very useful to have foreknowledge of the Trojan War, its heroes, villains, and voyages, before attending so as to get the best possible experience.

Adding to the sense of veil between yourself, the performers, and indeed the audience, is the traditional “plague” mask that Punchdrunk requires patrons to wear. This gives added anonymity to your interactions, making it easier to lose yourself (and your compatriots, if you so desire) and have a more individual experience. In those encounters, you start to piece the scattered storytelling together through interactions with those fragments left behind in war, the abandoned spaces, or the sudden rush of a troop towards you.

The all-encompassing nature of The Burnt City means this production is true to its name. As we would expect, immaculate attention has been paid to the details of set, props, and lighting, though it is notable that the variety of spaces present in previous Punchdrunk works does seem absent. For the best experience, we recommend you book as early a slot as possible, for only with time and exploration can you uncover the full nature of this epic. You are in for a stunning dive into a tragic-heroic world that leaves no stone unturned, nor path untrodden. Take risks, explore, and always push on that closed door…

Photo: Julian Abrams. Performers: Andrea Carrucciu and Dafni Krazoudi

Alicia: Immersive theatre doesn’t start from curtains up. It starts from the moment you enter the event venue, and ends when you step back into the real world. Upon going into the building there was immediately a rather hostile atmosphere created by the front of house staff, an almost bully-ish nature directing us here and there: a judgemental edge to every interaction. And this wasn’t a thematic decision, this was a stressed out staff transferring onto audience members, creating an unfortunate environment before we even entered the world of The Burnt City. Perhaps they were overwhelmed, and that wouldn’t be surprising due to the large numbers of audience members entering every second and creating queues throughout the space. Unfortunately, we weren’t treated any better upon leaving, with instructions being barked at us up until the point of exiting the venue.

Putting front-of-house aside, let’s get to the meat of it all. Of course our expectations for this event were high – The Drowned Man was one of the best theatrical creations we’d ever seen, and the ticket price for The Burnt City naturally reflects this. But, in the end, it suffered from a weak narrative. They attempted to set the scene for the audience with a display and information boards like a museum, but with crowds and queues, we felt rushed in the preparation stages and overwhelmed by both the amount of people around us and the quantity of information we had to read and take in. And, unfortunately, the performance itself, as well as the distinction between the two different worlds presented by the company, was often confusing. One of the strangest elements was the beautiful soundscape – but sadly sometimes there would be huge builds and swells in the music with nothing much going on, and vice versa. 

Let me be clear: the level of detail and the physicality of the performances were amazing. The lighting and soundscape were steps above what we remember in The Drowned Man and added astonishing depth to the world-building. And there were some strong final scenes, a brilliant use of the unique venue in a subtle site-specific way, and real passion, energy and talent from all the performers. Of course it was stunning, it really was, but it was also confounding and a bit bereft of that magic we felt from their past performances.

Photo: Julian Abrams. Performers: Vinicius Salles, Omagbitse Omagbemi, and Andrea Carrucciu

Final Thoughts: This is magical worldcrafting that breaks all boundaries. If you are unfamiliar with Punchdrunk, this performance is the perfect introduction. If you have attended before, we still highly recommend The Burnt City despite our critiques, which come from a place of love for the company and their astounding productions.

P.S.: True immersion is a rare occurrence, but for a similar level of high-quality and enthralling production, we recommend you check out The Ocean at the End of the Lane.

The Ocean at the End of the Lane

WHAT: Ocean at the End of the Lane
WHEN: 23rd October – 14th May, 2022, Touring 12th December, 2022 – September, 2023
WHERE:
Duke of York’s Theatre, St Martin’s Ln, London WC2N 4BG
PRICE: £20 – £49.50
OUTDOORS: No

OUR RATING: Do It!

Now that London has reopened in the wake of the COVID pandemic, Storefront City has had the pleasure of returning to the theatre scene. We have a few reviews up our sleeve to share with you over the next few weeks, but the most awe-inspiring one of them all has been the National Theatre transfer of The Ocean at the End of the Lane to the Duke of York’s Theatre

In our view, this tour de force production is by far the most impressive piece of spectacle theatre in London since Punchdrunk’s The Drowned Man. Based on Neil Gaiman’s 2013 novel, this work tells the story of a man who returns to his childhood home in Sussex and is transported back in time to his 12th birthday, a time when he makes a best friend named Lettie who introduces him to a magical world threatened by ancient forces. When these forces break through the protective barrier to their world, the safety of the boy’s family is put in jeopardy, and his survival depends on Lettie, her magical family, and the boy’s love for his family.

Credit: The Ocean at the End of the Lane

Featuring amazing puppetry, beautiful choreography, mind-boggling magic design, and haunting set, lighting and sound design that gave us major Stranger Things feels, The Ocean at the End of the Lane is a must-see story about family, memory, growing up, and imagination. 

Credit: The Ocean at the End of the Lane

To be honest, summing up this play is a difficult feat, and we also don’t want to ruin any surprises, since this performance is chock full of them. Every single element of this play was jaw-dropping, but the amazing aesthetic choices and the immersive design were only so strong because of the emotionally powerful strength of the story itself and the brilliance of the cast. James Banford performs stunningly as Boy, the main character of the play, but the supporting cast of characters were equally impressive, especially Nia Towle as Lettie, Nicolas Tennant as Dad, and Laura Rogers as Ursula. 

Credit: The Ocean at the End of the Lane

Final Thoughts: We’ve already recommended this show to a few friends, loving every time they message us during intermission with expletives and all caps. It’s a play that pulls at your heartstrings but is also a feast for your ears and eyes and really makes your imagination run wild.

P.S.: For more theatrical wonder, why not check out The Haunting of Susan A.

The Haunting of Susan A

Credit: King’s Head Theatre

WHAT: The Haunting of Susan A
WHO: By Mark Ravenhill
WHEN: 1st – 26th June, 2022
WHERE: King’s Head Theatre
PRICE: £10 – 28.50
OUTDOORS: No

OUR RATING: Do It!

Buildings are the bones around which the flesh of history is built. People construct, thrive, and die across innumerable generations, transient and fleeting, whilst the structures remain, absorbing tales from their inhabitants. The King’s Head Theatre, founded over 50 years ago, occupies the back room of the pub of the same name, but will soon be moving to a new location. As such, Mark Ravenhill’s (Artistic Director, The King’s Head Theatre) response to both this anniversary and the expected transformation of the space after the theatre’s departure is poignant and timely. Ghosts, both real and imagined, haunt the liminal spaces created by Ravenhill’s superb narration, leading one to question how the place was really used and what deeds were done there.

Credit: King’s Head Theatre

Whilst leading us on this historical overview, including that the theatre was the venue for illegal bare knuckle boxing, Ravenhill is seemingly disrupted by an audience member (Suzanne Ahmet), who declares that there is a shocking truth behind the room in which we now sit – a haunting that she herself experienced 20 years previously. Indeed, the idea of truth is toyed with throughout the production, with the names (Suzanne Ahmet vs. Susan A), places, and histories evoking a strong realism that leaves one wondering where the fiction ends and the facts begin. During the performance we saw, we were told that technical difficulties caused a delay in curtain-up, but we suspect (perhaps wrongly) that this may have been a crafty bit of misdirection to ramp the tension up. Either way, the delivery of this unsettling work was only enhanced by the anticipation.

Credit: King’s Head Theatre

Ahmet’s telling takes us through her own transformation, from scientifically-minded student, to last-minute replacement actor, to traumatised hermit, now ready to face her past – and that of the ghost haunting her. The facets of this evolution are complex, delving into gendered power dynamics (both through the domineering director and the historically crushing life of the being haunting the space) and the theatrical gaze of which the audience is now a part. As well as a compelling narrative, there are ample shocks and jump-scares, which come when one is perfectly at ease for maximum effect.

Final Thoughts: Simple, chilling, and, to some measure, heartbreaking, one cannot help but be engrossed by Ahmet and Ravenhill’s exemplary performances. An utterly enjoyable night of ghostly intrigue.

The Fright Before Christmas

Credit: Harpy Productions/Danse Macabre Productions

WHAT: The Fright Before Christmas
WHEN: 11 December 2021
WHERE:
The Space (269 Westferry Rd, London E14 3RS)
PRICE: £13 — £16
OUTDOORS: No

OUR RATING: Do It!

As fans of the creepy and macabre we firmly agree that Christmas is the perfect time of year for ghost stories in front of the fire. As such, we scoured London events for anything dark and sinister this holiday season, and lo and behold we came across The Fright Before Christmas, a one-night only unique horror storytelling experience.

Presented by Harpy Productions and Danse Macabre Productions, a half-dozen teams spun six new ten-minute terrifying tales in front of both an audience and a select group of judges. This was the first time we’ve been to The Space on the Isle of Dogs, located inside a former church. The set up for the production was quite sparse, with a tiny handful of props per performance and a few lights above the stage, but across the board all six pieces had remarkable sound and light design for what they had on hand. To tie in the night’s theme there were several small tables set up for the audience, all topped with festive decorations including holly and, of course, a skull.

Charismatic host Lady Aria Grey led the audience through the night, introducing each piece and then inviting thoughts from three horror judges at the end of each performance. The concept of having judges review the pieces was novel — we’d never attended an event like that. Yet we felt that while the role of a host was essential, the role of the judges was a bit ineffective. While interesting to hear their thoughts, it took the mood out of the night and in the long run could have done without them.

Credit: Storefront City Team

But let’s talk about the most important aspect of the night, the shows themselves! Writer Sarah Hamilton’s All I Want for Christmas…Is You started off the night right, telling the story of a woman alone in a house at Christmas when a stranger knocks on her door, asking for shelter from a storm. While we enjoyed the story and the twists and turns throughout, the sound design supporting the storm outside the house led to the downfall of the second half of the piece. With the sound so loud and the actors quite quiet, we couldn’t make out everything they said in the final few minutes of the play — exactly when it was quite clear that the twists were ramping up! In the end we turned to each other to see if the other understood what was said and what happened at the end, to no avail.

Next up was Jane Morris’s Eight Legs, Eight Arms. Exploring the very real threats women face on a daily basis, this piece framed its harrowing subject through the lens of an octopus, in a Cthulhu-esque twist that pitted eight-legged beings against each other (whether spiders or octopodes). Whilst intriguing conceptually, we felt the writing needed further polishing in order to truly reach its potential.

Credit: Storefront City Team

Moving back from the mouth of madness, Rachel O’Neill’s They Comes presents us with a couple who are not at all in agreement when it comes to the subject of having children. This crisis is precipitated by the traditionalist pushing of the husband’s grandmother — but gestation occurs (piecemeal) regardless of wishes. At times, the performance felt surprisingly ordinary, but this is not to detract from the rather unexpected (and unpleasant) climax.

Ben Whitehead’s The Sister Inside was our personal favourite of the night, and won second place after the audience and judge voting process. Approaching the stage covered in a white sheet and white top hat, Whitehead, performing the piece in addition to writing it, appeared a bit ridiculous, and his facial expressions interacted well to the audience’s reaction to his costume. Whitehead brought an amazing piece of Victorian storytelling in rhyming couplets, eliciting both laughs as well as horrifying silences. Whitehead is a seasoned performer and had us in the palm of his hand for the whole ten minutes with his tale of a woman living with her sibling writhing inside her. Whitehead also had to cope with a rowdy audience member interrupting his piece several times, and he did so masterfully.

Freddie Valdosta’s Flip the Switch (performed by Freddie Gilbraith and Oscar Koronka) was the night’s popular favourite — and chillingly so. A deeply disturbing portrait of the internal voice that is OCD, the tension is soon escalated to horrific heights, ending in a place that leaves one questioning the true nature of that “voice in your head”.

The final piece of the night was Rachel Bellman’s Tooting Bec Asylum, a story about a woman living on top of what used to be a morgue in an old hospital. The woman and her boyfriend start to see ghosts of the elderly and putrefying ghosts (and start ageing themselves). Oddly enough, we had that day rewatched the Tales from the Crypt episode Only Sin Deep — a bit of a coincidence! We appreciated such a traditional horror story, but with a rather predictable ending which we hoped would turn at some point, we don’t think this was the strongest of the night.

Final Thoughts: With an excellent selection of well-staged and produced short plays, The Fright Before Christmas does not disappoint and has genres for all types of horror and ghost fans. Given the general lack of horror material in a theatre setting, it is most refreshing to see new works developed around it. It is worth noting that whilst billed as a 90 minute set of performances, the entire event stretched to over 120 minutes (with a 20 minute interval). Whilst fine by us, we think it might be challenging for scheduling purposes. That’s one whole lot of horror!

Whatton House of Horror

WHAT: Whatton House of Horror
WHEN: 10 October — 31 October, 2021
WHERE: 
Whatton House (Whatton Estate, Long Whatton, Loughborough, LE12 5BG)
PRICE: 
£17.85
OUTDOORS: Yes

OUR RATING: Do It!

Our Scare Factor: 7/10
Atmosphere Rating: 
9/10

Credit: Whatton House of Horror

The Path to Purgatory awaits at an English country house and garden in the heart of Leicestershire. Designed by award winning scare attraction creators Area 51, this 40 minute, 1 mile walk through extensive and terrifying gardens is truly an immersive experience not to miss!

Alicia: Whatton House of Horror was a surprise find for us as we started planning our Halloween ventures. Knowing already that we’d like to attend one of Leicester’s more well-known multi-event haunts (this year it was Screamfest), we wanted to fit in another event with our long journey. Fate brought us to Whatton House — and who ever thought the road to Hell could be so much fun?

Upon arrival we were pleasantly greeted by many of the staff there — we were one of the last groups to arrive for the night and must admit we were really spoiled by that fact — we were able to attend just the two of us — smaller batches always intensify and improve the experience in our eyes. Provided a lantern to guide our way, we knocked on the gate to Purgatory and were tasked to walk amongst the inhabitants on the terrible journey to Hell.

Credit: Whatton House of Horror

Every so often on the journey we were met with a stunning vignette with a character attempting to entrap us in their world, and in between these mini-stories we were able to walk along the beautifully strange path wondering where the next creature would pop out and what would be in store for us next. Is that one of the many strange statues belonging to the garden estate, or were our eyes tricking us? Even though we were constantly on alert, these devilish creatures were always able to completely blindside and terrify us.

We don’t want to spoil the night for you, but ultimately this event started our Halloween season off with a bang. All of the characters were incredibly thought out and costumed — some with fabulous makeup (some, yes, could have done with a bit more), and all with absolute commitment to their craft. Thinking back, it’s actually incredible how many scenes were so memorable, with a lovely dose of humour to bring even more impact to the scares.

Adam: I can easily say that Whatton House of Horror is, in equal measure, entrancing, terrifying, and a spectacular piece of theatre. So often with haunts and scare parks, it is forgotten that narrative is at the heart of any good performance, instead sacrificing substance for cheap thrills. Nothing could be further from the truth at Whatton House of Horror, a spine-chilling road trodden side-by-side with spirit folk.

I do not wish to spoil the surprises along the way, but the dedication of the creative team to their craft is impressive, the realism of each encounter enhanced by the natural and eerily lit surroundings. Whether a sinner or saint, all are judged by an array of vicious (and sometimes humorous) creatures stalking the deadly night.

Before or after your adventure, an excellent array of goodies are available to fortify your spirit. Snobby Burger and the Wood Oven Pizza Company have kiosks, as well as abundant ice cream and seriously creepy cocktails. Just make sure you always look behind you — you never know who (or, indeed, what) might be following close behind.

Credit: Whatton House of Horror

Final Thoughts: Eversy theatrical event nowadays brands itself as site-specific or immersive, just words to put on some marketing material and some decorations strewn about. Whatton House of Horror was truly an immersive event that knocked it out of the park when utilizing the space around them. From ponds to statue gardens, Hell’s inhabitants were at home here, and we could tell the creators of this event really cared. This is a Halloween event not to miss, and completely worth the journey out to Leicestershire if you’re not local!

P.S.: We’ve got plenty of Halloween reviews coming, so keep your eyes open — next up: Screamfest!

Leviathan

WHAT: Leviathan
WHEN: 15th-26th July, 2014
WHERE: Hackney Downs Studios (17 Amhurst Terrace, E8 2BT)
Screen Shot 2014-07-18 at 1.03.25 PMRUNTIME: 45 mins.
WHO: Living Structures
PRICE: £16-20

OUR RATING: Skip It!

[Warning: Contains Spoilers]

The hunt for the great white whale. Immersive Theatre-makers Living Structures specialise in  visual, physical and musical performances within large-scale immersive structures, this time attempting to take audiences on an artistic adventure through the high seas.

This time, Storefront City London invited our Visual Arts editor Éimear Doherty (check her bio below) along for the ride:

Screen Shot 2014-07-18 at 1.03.08 PM

Photo by Angela Alegria

Éimear: My first exposure to Moby Dick was the 1956 film starring Gregory Peck. I remember feeling perplexed and uneasy after the black and white classic…then again, I was only 7 years old, so I forgave myself for not quite picking up on the complexity of the tale and film. Last night, however, I felt a little bit of a failure. No matter how hard I tried, I was unable to completely immerse myself in the experience, too distracted by a litany of questions:

Am I supposed to understand what they are saying?’

‘Why are they pushing me?’

‘What am I supposed to do with this shot of salted water?’

‘What did she say?’

‘Is this theatre or performance art?

I enjoyed the musical element of the performance; the chanting and exercise-ball-percussion brought a dimension to the experience that I think many could enjoy.

Photo from Living Structures

Photo from Living Structures

But Living Structures is known for their ‘immersive performance events’, correct? The audience was ‘immersed’ in parts, but if I am being honest, on too many occasions, I felt coerced. At 9pm, after a balmy day in London, I had experienced my fair share of pushing and shoving for the day. Either this was a play exclusively for Living Structures’ followers, who understood how to ‘perform’ as an attendee, or it aimed to immerse the audience in a space above and beyond their comfort zone.

As someone who enjoys trying new things, I cannot help but shed a positive light on the experience. It certainly did challenge and provoke many a thought. But surely nothing should be that difficult to follow and enjoy. This time, Skip it.

Photo by Angela Alegria

Photo by Angela Alegria

Alicia: Despite being a regular immersive-theatre goer, I had a strikingly similar experience of the performance as did our guest reviewer. Walking into the performance space sent chills down my spine (despite feeling clammy and uncomfortable wearing a version of an oil-skin jacket) as a naked Ishmael swam his way on a downward slope, struggling for survival, struggling to tell his heart-wrenching story. And it was powerful, beautiful, sonically excellent. But then he opened his mouth and the entire show turned for the worse.

Photo by Angela Alegria

Photo by Angela Alegria

There are seeds of beauty – flutters of potential. The use of monochrome colours, geometric shapes and Russian Constructivism are mostly all stunning, the choreography sometimes masterful. And the music? In an entire different league, at least in terms of composition – spectacularly haunting. But these moments are few and far between. The show as a whole feels extremely unpolished and the relationship with the audience completely unclear. It needs tightening here, expanding there, focus everywhere. Not just gimmicks of “Why not make the audience stand up and then push them to the side so they don’t know where you want them?” or “Let’s just put another sheet on top of their heads to play with space and height.” Many theatre makers adopt these types of tools, but never has it been so painfully obvious and obviously misused.

Screen Shot 2014-07-18 at 1.03.50 PMI commend Living Structures for the graphic and sonal beauty of rare poetically beautiful moments. But the piece overall is just confusing, rushed, and poorly tied together. Words are eaten by the very devices that are meant to project them, water cools and drizzles on the audience when it should spark and ignite their imagination, giant whales are flacid and lifeless when they should be terrifyingly dangerous, the ship sails calm seas when it should be tossed, turned and whipped around by perilous storms and a deadly beast, and large props are dragged here and there leaving one to question – what was it all for?

Screen Shot 2014-07-18 at 1.02.37 PMFinal Thoughts: While admirably composed and a good effort made, Leviathan simply doesn’t live up to the grandeur required of it. However, we hope to see what the future brings for this inspired company.

P.S. Éimear Doherty Bio:

Éimear is in the final stages of her MA in Arts Policy and Management at Birkbeck University, a project she juggles alongside a number of other projects and passions. Since moving permanently to London in the autumn of 2013, she has endeavoured to attend as much theatre as her time and pocket permits; striving to catch up after years of being immersed in the world of visual arts and art history. When not in the library or kitchen, Éimear can be found on her bike or eyeing up the city’s latest art exhibitions.

Macbeth

macbeth2WHAT: Macbeth
WHEN: 7:40pm-9:30am June – August, 2014 (select dates)
WHERE: Secret Zone 2 Location
RUNTIME: Approx. 14 hours
WHO: RIFT
PRICE:£20-40

OUR RATING: Do It!

(Warning, contains some spoilers)

A great Eastern European Banquet. Blood. Murder. The infamous Scottish play comes to life in a secret Zone 2 location. Billed as an immersive theatre piece, the performance takes place from dusk ‘til dawn, RIFT (formerly known as Retz) invites audiences to enter the rift and be transported to spend the night in a murderous building undergoing a series of intense political, emotional and moral conflicts.

macbeth1

Adam: Entering into the world of RIFT’s Macbeth is a hauntingly beautiful, spine-tingling and an (occasionally nervous) laughter-filled adventure. Begin by being whisked into a dark, dangerous void only to emerge into a dimly lit realm of intrigue and vice. The set, real rooms in a undisclosed building, is immense and meticulously dressed, while the acting convincing and consistent. Enter suites aptly named “Fife”, “Edinburgh” and so on, each holding a special scene just for you.

Credit RIFT

Credit RIFT

Different to most immersive events, narrative is no lost in scenic design as with recent Punchdrunk shows and is central to your experience. Don’t worry, you won’t miss anything as you are well looked-after (just watch out for the occasional blood-spatter). Interspersed with the action, you’ll have ample opportunities to mingle with fellow guests over many delicious beverages, but make sure you change enough money at the checkpoint on the way in.

My only minor concern (or should I call it confusion) was the choice to base the play in a stereotypical Eastern European/Balkan country called Borduria (which I believe is derived from the Tintin comics) rather than in pure Scotland. I partly find this an unfortunate decision, as Scotland was referred to by cast members often, even when not part of the original play. I feel that perhaps the organisers were subconsciously influenced by the 2007 version of Macbeth at the Chichester Festival Theatre, which was heavily based upon Stalinist Russia. Nevertheless, commitment to accents and characters was brilliant and not to be missed.

Credit RIFT

Credit RIFT

Alicia: What truly made this performance unique for me as a regular theatre (and immersive theatre)-goer was the element of personal engagement allowed for and nourished during the production. We were taken along with five other individuals into the first scene, and these were the five individuals we spent the rest of the night with, led by a group guide Natasha, who’s wit and delivery of comic responses to certain situations was absolutely classic! Natasha and the nurturing of the group dynamic created a little family of adventurers (many of us accidental illegal immigrants to the country of Borduria). Encompassing a broad range of unexpected genres – from moments of comedy to the clear dark tones of this tragedy – RIFT transported our entire group through an intimate, chaotic and tension filled epic.

The meal was also quite unexpected. I won’t go into the specifics and ruin the surprise, but RIFT definitely provided a sumptuous feast – and even if you are the most outrageous carnivore I bet you you’ll enjoy the bounteous vegetarian supper! This meal was yet another opportunity to engage with other audience members and the cast, who never once slipped from their characters despite sporting Eastern European accents for countless hours.

Credit RIFT

Credit RIFT

I must caution ye all, potential audiences of Macbeth, that this adventure is not without its dangers. I’m not quite sure it passes all of the safety requirements of a large-scale production, and I can feel my foot still throbbing from a raised doorstep and no cautions to watch my step. And if you don’t like stairs, this probably isn’t the production for you either. Nonetheless, I must say I think the level of attention put into such things was mostly acceptable, and I applaud their conversion of the site into their own unique realm without worrying about unnecessary bells and whistles some companies spend a fortune on.

macbeth5Final Thoughts: We say do it – but don’t get your hopes up too much about immersion lasting from dusk to dawn. The overnight aspect of the performance is not much more than a gimmick, with the performance lasting until 1am or so and with the only morning wrap up being a bit of food, a few minutes of acting and a forced prompt to survey the view from the roof. And make sure you are up for a late night when you opt-in to this, or if you really are tired when the acting ends and the night’s celebration begins, make sure you are proactive about telling the attendants you want to go to sleep – they don’t really make this option clear when the night starts to wind down.

Despite these pitfalls, you really do get your bang for your buck with this production, with hours of personal and engaging performance paired with a delicious feast and the opportunity to share a unique experience with those around you, and the supporting cast of guides and the amazing Alexander Luttley really do make you feel like you exist and matter in this new world. Just watch out about the first impressions you give off – nicknames will stick like glue!

Post Navigation