GUIDELINES
New Diorama Theatre
★★★★
“Punchy, pacy and full of bite”
Something sinister lurks beneath social media’s glossy veneer. CONGLOMERATE’s debut show, ‘Guidelines’, is a striking new work fusing nuance, power, levity and darkness into something eerie and exhilarating.
Two sisters in a wood. A dancing man. A frog with eyes in its mouth. Somehow this fractured stream of consciousness coheres as we tumble down a social media rabbit hole with deadly consequences.
Writer Pip Williams, with dramaturg Louise Orwin, delivers a tight two-hander that nails the absurdist contradictions of social media, capturing familiar online habits with subtlety and bite. The opening voicemail sets an ominous tone even if it feels a touch poetic, before a sudden shift to pulsing rhythm tips us off balance. Recurring lines create a doom-scrolled tangle, with sharp humour cutting through at just the right moments. Momentum gathers promisingly, though the final third loses steam: the forest climax could push further, and the closing scene takes time to land an under powered point despite the bold pivot. Still, ‘Guidelines’ feels on the cusp of something genuinely exciting.
James Nash’s direction is slick and assured, capturing the slow burning menace with precision. The pacing is finely tuned, adding irony or resonance with flair. The use of space and roaming stand mics is particularly striking, shifting between prowling movement and considered stillness to create a restless, caged energy. Transitions are generally seamless and the use of darkness deepens the nightmarish mood. It’s a shame the momentum softens in the final scene, but overall it’s an expertly crafted piece.
Movement director Ken Nakajima’s work really elevates the piece, drawing sharp contrasts between naturalistic gestures and algorithm ready moves. The jarring kill sequences are a crisply executed standout.
The music – including AJ Turner’s opening composition and vocals – brings a distinctive, electronic edge to the production. Pulses of suitably dystopian drum and bass convey hidden dangers, and the burst of influencer era pop cleverly masks dark lyrics.
The design is powerful. Jida Akil’s minimal set makes a bold impression, the gorgeous gold banners transforming with deft lighting changes, and the gentle sway of hanging ropes unexpectedly evoking tree limbs. Adi Currie’s lighting is beautifully judged, moving between subtle washes and sudden shocks. The fades rendering the actors momentarily faceless are especially striking, offering a sharp counterpoint to more realistic sequences. Patch Middleton’s sound design is equally strong, with clever use of volume, impeccably timed cues, and a clean overall balance, though the actors could project more when they’re away from the stand mics. Akil’s costumes contrast corporate crispness with casual teen-wear, though the sudden shift to Puritan garb is initially puzzling.
Rachel Leah Hosker and Alex McCauley make an exceptional duo – fully immersed, sharply paced and completely in sync, moving between corporate performativity, teen innocence and raw fear in a heartbeat. They build easy audience rapport, land the comic beats with precision, and handle movement work with authority. It’s compelling, nuanced acting that leaves a real impression.
Punchy, pacy and full of bite, ‘Guidelines’ delivers a clear eyed critique of our unregulated social media age. With a little tightening, it could go far – so catch it while it’s still up close.
GUIDELINES
New Diorama Theatre
Reviewed on 5th February 2026
by Hannah Bothelton
Photography by Clémence Rebourg
