The play is the thing and the location is the play. As you enter the disused car park at the side of the Peckham cinema multiplex (past the dumpsters, down the alley, through a narrow metal door), you are greeted with posters (“Don’t miss this one-of-a-kind immersive experience!”) and signs guiding you to levels seven and eight. Titus Andronicus produced by The Theory of Everything and Restless Buddha makes a firm promise, with the writing – literally – on the wall. Does it deliver? It does when it counts and in its own terms.
Sprawled in the car parking space of level seven, the production – directed by Pia Furtado – is notable for its energy, atmosphere and the marriage of setting and text. Its world – turf wars with a touch of sixties car culture – is immediately recognisable as a place where human life has little value. In that context, the text sits comfortably but not passively. It hurls and jumps as much as the actors do. Words are lithe and the production’s physicality has its own brutal poetry: men crawl and hang from the ceiling, bodies disappear through metal doors, threat drips everywhere. Blinding car lights flood the long strip of concrete and suddenly it’s car races at the edge of a cliff. Continue reading