Intronauts
Jacksons Lane
Reviewed โ 11th January 2019
โ โ โ ยฝ
โhas all the elements of an excellent show, that is until it comes to a very abrupt ending, with no real resolutionโ
When thinking of the future, we often imagine sleek outfits, efficient and sophisticated machinery, and a generally effortless way of living. This is decidedly not so in Emma Williamsโ โIntronautsโ where temperamental machinery is still being given a good kick to get it working again, and that โdeep itching in my anusโ is still a daily struggle.
Set in the near-future, our unnamed protagonist has purchased a micro-cleaner who lives inside him and with whom he has an ongoing dialogue via messenger, directing her to resolve any internal queries. The aforementioned anus itch, for example, is settled with a good cleaning.
Employer and Intronaut never have any face-to-face interaction, and whilst physically they couldnโt be any closer (one is inside the other, after all), they are both deeply lonely. This seems to be a satirically delivered comment on technologyโs simultaneous ability to bring us closer, and yet further apart than ever.
Vacillating endlessly over the right background colour for a logo design, trying and failing to learn simple dance steps (alone), and playing what appears to be a very boring, but somehow stressful game of โhighfiveโ with his computer, Adam Fuller imparts a relatable melancholy in the pointlessness and isolation of his activities. He wears a dressing gown throughout, which may be intended to imply a comfy futuristic uniform, in which case, more effort might have been made, or, seeing as he appears to be working from home, heโs showcasing the freelance life, in which case itโs spot-on.
Emma Keaveney-Roys, playing the Intronaut, is funny and endearing, using brilliant physical comedy throughout. Due to the structure of the play, she can only communicate something to the audience by talking to herself which could easily feel forced, but comes off as natural and engaging.
Chris Pirie seems to claim the role of โspecial effectsโ, and he does so deftly, playing the stage-hand, puppeteer, and various body cells in inflatable costumes (as well as set and costume designer, according to the credits!) Whilst the set is fairly basic, Pirie brings it to life, from characterful movements of โsmartโ technology, to tracheal cilia ominously grabbing at Keaveney-Roysโ โspaceshipโ.
The whole play takes place behind a transparent projection screen, used to create both Fullerโs seemingly ubiquitous computer interface, and his innards where the Intronaut resides. This is very effective, and elevates the production value tremendously.
Simon Prestonโs accompanying musical composition is a mishmash of 80s computer game effects, dreamy soundscapes, and bass-heavy dance. He successfully enhances moments of comedy and pathos, as well as lending a sense of danger to some of the Intronautโs missions โ not so easily done when she is supposed to be crawling around inside her ownerโs anus.
This has all the elements of an excellent show, that is until it comes to a very abrupt ending, with no real resolution. Wrapping up after only an hour, it seems more like the first half of a really great story. Perhaps thereโll be an โIntronauts: Part 2โ, and judging by the first half, Iโd definitely go see it.
Reviewed by Miriam Sallon
Photography by Emma Windsor
Intronauts
Jacksons Lane until 13th January as part of the London International Mime Festival
Previously reviewed at this venue:
From Ibiza to the Norfolk Broads | โ โ โ | March 2018
La Traviata | โ โ โ โ | May 2018
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