What kind of institute was this? Where were we? You could read so much into the visual, auditory, and choreographic language of this production. Was this a depressing workplace, a physical prison, a prison of the mind? Even before a single step had been taken by the performers, the mental cogs were turning.
Gecko Theatre Company has built a reputation for generating these inimitable worlds. This devised, physical theatre performance used movement, imagery, and a variety of choreographic styles to explore our multifaceted human nature. Artistic Director, Amit Lahav asked the four male performers: what does it mean to care for one another in a busy world of high-pressure targets and expectations? What does it mean to lose everything and everyone? Where do you turn?
Stage left and stage right was taken up with office cabinets, which not only contained a ton of paper work but the memories of one of the characters. Other set pieces in the story including office and restaurant furniture could roll out from these cabinets too. In this theatrical world, private, personal, and professional life rolled into one. The pressures of modern life were a transparent theme, ultimately raising the question: is modern day life healthy? Is a corporate work environment, where employees feel the strain as they climb up the career ladder, a healthy place to work in?
Gecko’s choreography was nuanced, wide-ranging, and emotive. Innermost thoughts, feelings, and instincts were externalised and portrayed through stylised movement. You could sense character anxiety, overthinking, and intrusive thoughts. There were times when the music became less dark and more unwinding, at that point the ensemble’s movement became freeing, liberated, and circular. There was this lovely motif exploring a person’s support network; a circle of family and friends who support one another – quite literally in the lifts. I detected a gloomier picture of a workplace, where the employees were just numbers and not individuals. They were simply viewed as cogs in a wheel, keeping it turning. Three of the actors puppeteered one actor in one standout scene which highlighted the juxtaposition between outer control and inner chaos.
The prison-like search lights, clinical spot lights, and angular lighting felt exposing and claustrophobic. Was the main character really being watched or was he self-conscious? There was this constant fluctuation between inner and outer reality which was emphasised by the lighting design. Personally, I think the content within some scenes could have been condensed. On the other hand, I applaud the detail and the many themes and ideas covered within this one act performance. Attention-grabbing.
Institute was layered with a cabinet full of creative and thematic ideas, flowing freely within this restrictive world. It was thought-provoking all the way through. The performance can be interpreted as a physical manifestation of underlying mental health issues; perceiving mental and physical health as equally important. Reaching out to others, even checking in on those who we think are okay, is vital – especially in these extraordinary times.
Reviewer - Sam Lowe
on - 30/4/20
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