Note: Because of this play’s supposed “secret” nature, I should warn that this review talks about specifics of the play, including its title and characters. I also explain why, but if you want to see a spoiler-free review you should go elsewhere.
The Lyric Hammersmith has been running a series of “secret theatre” projects recently – encouraging people to book tickets without knowing what they’ll be seeing, and as a result come to a piece with little to no preconceptions built up in their heads.
This Secret Theatre project is not like that. It was, I was told by the PR, more modelling itself on Secret Cinema. This series shows movies in suitably appropriate surroundings, but also with a deeply immersive experience that is just as entertaining, if not more so, than the film itself. So The Shawshank Redemption is presented in an old prison, Bugsy Malone in a speakeasy, Blade Runner in a grimy, industrial near-future where oriental noodle bars rub shoulders with security agents scanning all visitors for signs of replicant behaviour.
So we were expecting a similarly immersive experience for this piece, and notifications of dress codes and secret identities fed into this.
What we got instead was a straightforward play. A truly immersive piece needs to do more than say, “Oh, this piece about the aftermath of a botched heist is set in a warehouse, so let’s stage it in a warehouse”. Especially when that warehouse already hosts events, drama classes and art exhibitions, and the play itself is staged so conventionally.
So the failed promise of an immersive experience was a huge let-down. And that was a shame, because the play itself – an adaptation of a justly popular film – has the potential to be a great stage piece. As presented here, it’s still some way from that – but I think the false promise of an immersive experience will cloud the audience’s judgement of what this show has the potential to be.
And it’s all the more bizarre that the “secret theatre” concept also robs this production of its biggest appeal. I’m not going to beat about the bush any longer: if you go to this play knowing what it is, if you read about this play knowing what it is, it’ll be better for everybody.
Because I, for one, would bite someone’s hand off if they offered me the opportunity to see a stage adaptation of Quentin Tarantino’s first feature film, Reservoir Dogs.