THEATRE REVIEW: Mythosphere - Stone Nest Theatre, London.

Created and directed by Inna Dulerayn, ‘Mythosphere’ is a UK/Russian multimedia theatre collaboration, just opened at the new West End venue: Stone Nest. Housed in an 18th century former Welsh Church - an imposing somewhat dilapidated building which can be seen from London’s Charing Cross Road (and the ‘sister’ building of Islington’s well-known Union Chapel) - it is still in the middle of a long, delayed process of being fully renovated for arts projects. Notwithstanding, it was a privilege to attend the opening night of its very first performance in this imposing, atmospheric space - ideal for Dulerayn’s far-reaching production.

‘Mythosphere’ is an exploration of magic - and the powers it can give those who have both the abilities and desire to obtain them. Told through the eye firstly of a young girl, and in the second half, her dotty granny (who could in fact be an older version of herself) with interweaving issues surrounding mental health, the piece is an examination of, in Dulerayn’s words, the discovery that their  “delusions are not an illness, but extrasensory abilities”. Both halves draw heavily on surrealist influences, juxtaposing highly engaging characterisations of the two protagonists, with expressionist depictions of four operatic ‘spirit birds’ who are intrinsic to their imagined world, alongside absurdist film sequences that offer further investigation: such as the controversial ‘Forbidden TV’, an underground show depicting characters that “represent modern archetypes that combine superpowers and modern living”.

The young girl and old woman, beautifully played by Edyta Budnik and Lucienne Deshamps respectively, are highly sensitive and at times disturbing portrayals of two people at the beginning and end of their lives, grappling with their place in both the spirit and material worlds. We see the young girl’s journey from the age of eight to teenager, transforming from a magical, ethereal experience as she regularly flies with a ginger cat to the spirit world - engaging with opera-singing birds in an enchanted forest-like environment - with close friends sometimes accompanying her; to a gradually darker and more forbidden existence, as the reality of life pressures hit: school demands, friends turning their back on her, and her mother having a mental breakdown. Similarly the 87 year old is equally uncomfortable with the rigid demands of her therapists who try to keep her grounded, quashing her desire to find the formula to fly and ‘rejoin’ the spirit world - instructing her “not to blur illusion with reality”. With the direct threat hanging in the air of her being sent to an institution for non-compliance, it is reminiscent of witch-hunts over the centuries, conveying the idea that ‘magic is evil and dangerous’, and not least, perceptions surrounding mental health and the subsequent heavy-handed control.

The design of ‘Mythosphere’ is worth the visit alone. Using the unique space to its full potential, a kaleidoscope of magical, abstract images are projected onto screens both in front of and behind the live action, stretching upwards almost as far as the great domed ceiling - evoking psychedelic forests, dream-like wintry landscapes and human cells under a microscope - with graphic designer and animator: Masha Yukhananov, memorably creating  shifting settings and moods. The choral mythical spirit birds - who intersperse spoken word and dance with haunting operatic arias, composed by Iraida Yusupova, and a hilarious comic turn as the coffee morning attendees of the ‘real world,’ that the old lady is instructed to be a part of - are resplendent in Anna Smirnova’s all-white expressionistic costumes.  

‘Mythosphere’ is a unique piece of ‘Total’ Theatre that successfully experiments with a multimedia approach, as a way of expressing complex ideas and inter-related themes around the constrictions placed on our imaginations. But while this is undeniably an ambitious, intriguing and thought-provoking production, it occasionally meanders off course in the second half, making it not only hard at times to keep tabs on, but at 2 hours 45 minutes (including an interval) somewhat over-long. Reviewer - Georgina Elliott on - 21.9.21