Roundhouse,
London
EXCERPT: “ Although I did at points feel a tad conned and underwhelmed, it appears I still responded exactly as the cunning producers predicted I would… thanks to its high production values and the show’s unique nature, I do feel it was worth it."
Production values are high: it is quite the visual
spectacle, with shifting curtains of colour and moving blocks, water games
played on shifting ceilings of water, acrobatic moves and too many Kodak moments to count. The primeval
drumming and rave-music combine to get most people dancing, and our senses are
enticed with various opportunities to interact with different materials.
However, whilst these are undoubtedly all quite cool, none of these features
are quite spectacular enough to account for the very child-like pleasure with
which people enter into the spirit of the event.
I believe the buzz in the room can be mainly attributed to
the performers’ energy: they are quite evidently having the times of their
life. The lack of inhibition shown on stage is gleefully self-evident and I
think it is this display of reckless abandonment, the pleasure found in childish
games, and their innocent destructiveness, that the audience finds so
appealing. I also think there is joy to be felt from the sense that this is a
unique experience – and possibly (oh, cynic that I am) from people’s perception
of the social mileage that they’re going to get from it in conversations to
come.
Although I did at points feel a tad conned and underwhelmed,
it appears I still responded exactly as the cunning producers predicted I would…
thanks to its high production values and the show’s unique nature, I do feel it
was worth it.

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