by Sophia Appl Scorza
Our immersion into a world of gods and mortals starts in a dimly lit bar, wrapped in red velvet. Lamps drench the space in hypnotising blue as wobbly wine glasses surprisingly bounce back when toasting. From the very beginning, we are lulled into the comfortable confusion of a dream, following strange creatures into the maze of The Burnt City.
Expectations were high when it came to the new production of Punchdrunk, which is viewed by many as the best immersive theatre company in the world. Drawing on two ancient Greek plays, Euripides’ Hecuba and Aeschylus’ Agamemnon, the production sets out to explore the topoi of the Iliad. From the sacrifice of Agamemnon’s daughter Iphigenia to her revenge, we are taken on a journey through a dark wonderland that is best described as a ballet performance within a massive art installation.
It would take more than one visit to uncover the treasures hidden in the vast exhibit at One Cartridge Place, Woolwich, where every corner from Clytemnestra’s royal dormitory to the precarious flats of the Trojans is designed with full commitment to detail. The manifold spaces composing the exhibition are undeniably the protagonists of the production. Most remarkably, echoing the “Walled City” of Kowloon, Hongkong, once the most densely populated place on earth, Troy comes to life as a gigantic beehive of narrow streets, stairs and Chinese lamps.
Among the dance performers inhabiting this cabinet of curiosities, the women set the pace. Even as simultaneous scenes are occurring, it is hard to look away from Omagbitse Omagbemi (Clytemnestra), an incarnation of a cunning, archaic female strength. Omagbemi’s dance following Iphigenia’s murder is dripping with palpable pain, desperation and desire for revenge. This exquisitely contrasts with the transparent weightlessness of Yilin Kong’s (Kassandra) absent gaze and light movements, which create a figure seamlessly transcending between material reality and a silent world behind objects and bodies.
While our senses are continuously absorbed by the magnetic swirl of dancers, scenes and objects vying for our attention with ever more astonishing choreography and detail, at the exit excitement drops and gives way to a sense of incomplete satisfaction. It seems like depth of meaning has been traded off for the sake of spectacle. The over-the-top live interpretation of the Eurythmics song Sweet Dreams at the bar adds to this feeling. Key questions remain unanswered. Is that all there is to the epos of Troy, a dream, immersing us in “a mythical world of gods and mortals”? Why had the myth of Troy, dated to the 8th century BC, interested the directors today? How should we interpret the strong images, such as that of a half-naked, bloodstained Polyxena (Chihiro Kawasaki) hanging by her feet? It is difficult to find any clue to these questions in the production. If you are an admirer of Greek mythology and its many contemporary interpretations, The Burnt City may leave you disappointed.
While it lacks a clear, original take on the story, Punchdrunk’s new production remains outstanding. It is the most ambitious and impressive production in terms of its atmospheric scenery, aesthetic, and immersive quality that I have encountered. Despite the thin storytelling, The Burnt City is among the truly unique and unmissable experiences London has to offer. Felix Barrett, artistic director and company founder once said Punchdrunk aims to “create work that leaves you spinning and seeing stars”. If this was the mission, it has been more than accomplished.
