Tag Archives: Stephanie Christodoulidou

THE MURMURATION OF STARLINGS

★★★

Seven Dials Playhouse

THE MURMURATION OF STARLINGS

Seven Dials Playhouse

★★★

“a heart-warming story about past and present coming together”

Balancing Act first came to be in 2001 and they have been around long enough to know how to create a world full of colour, humour and deep connections onstage. It’s clear that this company knows how to touch on people’s emotions in a gentle, almost respectful manner. ‘The Murmuration of Starlings’ is one of those shows that doesn’t attempt to achieve too much, but instead offers a pleasant, if not bittersweet at times, evening that will encourage its audience to interpret the story, and its meaning, as they see fit.

Man and Woman return from their walk and talk about what kind of soup they’ll have for lunch. Everything feels calm and normal till Man encounters Boy and together they try to decipher the entity, the predator, who seems to be disturbing the peace, while attempting to protect what’s most dear to them. But is the predator what they think it is? And why does time seem to tangle and go many different directions instead of forward?

The cast of four come on and go off the stage quietly, yet surely, in an almost magnetising manner. There is some lovely chemistry and each one of them bring a relatable and grounded air. Man (played by Steve Hay) and Boy (played by Jonny Dagnell) bounce back and forth with their almost ADHD energy full of interesting twists and turns. Everything they talk about becomes fascinating and balance Man’s maturity with Boy’s childlike enthusiasm perfectly. Jenny Johns is great as Woman, the voice of protection, reason and care, while Jennifer Barton as Girl feels a bit too staged, as if trying to remind the audience that she comes from a different era.

Joe Graham, writer and director of the show, focuses on imagery and riveting dialogue, selecting just the right amount of themes and ideas to move forward with the plot, rather than overdoing it as it happens with quite a few shows that choose messy quantity over quality. Having said that, the script does feel like, at times, it’s losing its way to the point of rambling before returning back to what is actually happening onstage. 

The set is neat and highlights the colours red and blue to attract the audience’s attention. Crates are smartly used as chairs, fortresses, shelves or as a means to demonstrate the characters’ emotional state. Also, a set of projections in the background add an extra flair, especially when all the different entities, birds and predators, and locations, woods and bus tops, are mentioned, which helps maintain a level of visual variation.

It’s a heart-warming story about past and present coming together and merging into an adventure that at times feels a bit fragmented. However, it does reveal a compassionate and tender perspective on human relations and how personal battles sometimes need to be shared in order to be won.

 



THE MURMURATION OF STARLINGS

Seven Dials Playhouse

Reviewed on 4th March 2026

by Stephanie Christodoulidou

Photography by Steve Randall


 

 

 

 

THE MURMURATION OF STARLINGS

THE MURMURATION OF STARLINGS

THE MURMURATION OF STARLINGS

GECKO – THE WEDDING

★★★

Sadler’s Wells East

GECKO – THE WEDDING

Sadler’s Wells East

★★★

“An inspiring, well-loved piece of physical theatre”

After an exceptional run at the Barbican in 2022, Gecko’s The Wedding returns to London as part of MimeLondon, a festival that showcases new and exciting physical and visual theatre. Though a slightly re-imagined version, this production of The Wedding, created by Gecko’s artistic director Amit Lahav, stays true to its original exploration of the relationship humans develop with each other and with society itself.

In a dystopian-like reality, human beings come into the world through a slide. They are welcomed by an enthusiastic lady who hands them a beautiful wedding gown and gets them set up for their life as part of a peculiar society. All the members of this society work frantically, party hard and live a life of repetition and contracts, with nothing else on the horizon. Till group of outcasts, in an attempt to improve their lives, decide to slip in and along with a dismayed wedded individual, they bring change and, eventually, revolution.

There is an undeniably raw element in every expression, every move and every word of the ensemble’s performance. All of the performers, without exception, work hard to breathe life in an array of characters, from the obedient receiver of the newcomers to a homeless entertainer and a man who dares to go against the established rules and enquire about divorce. Their energy flows continuously, their precision is impressive and their collective chemistry mind-blowing.

One of Gecko’s characteristics is the use of various languages and the use of breath to add to the soundscape and to the emotional depth of the storytelling. It also works as a reminder that what we see onstage is a collective of humans that live, feel and breathe. However, in this version of the show, it feels like an incessant chattering; always in the background without any room for some quiet or some pause for variation. Instead of pacing out the speaking and breathing parts, there is a constant jabber on top of Dave Price’s beautiful music. But how are we to appreciate the music and the performers’ vulnerable speech when nothing ever stops?

Another distracting element is the inconsistency in the world building and movement development. Especially important in physical theatre is to establish certain patterns to help the audience understand what’s happening. Those patterns can be built, deconstructed and eventually thrown out the window, but they provide a stability and specificity without which the show ends up being vague and unreachable. Executive director Matthew Jones provides snapshots of events and characters that feel incomplete, random and disconnected, though they are powerful and at times land successfully, like when the whole ensemble comes together to celebrate in a wonderful set of circular shapes and motions full of fluidity, harmony and unison.

Regarding the lighting, designed by Joe Hornsby, it creates strictly bounded blocks that enhance the feeling of disconnection and isolation among the wedded individuals. Also, the use of lamps and fairy lights on the stage helps the audience visually navigate a stage that is not always easy to keep up with. The set and costume design, by Rhys Jarman, favours an earthy colour palette and bring us back to earlier times with braces, long skirts and big telephones. This could hint to a theme of breaking free from history and preventing it from repeating itself by disturbing an order placed upon us by a force we don’t even know.

An inspiring, well-loved piece of physical theatre, The Wedding urges us to examine the contracts of our lives and take matters into our own hands in order to determine our happiness.



GECKO – THE WEDDING

Sadler’s Wells East

Reviewed on 21st January 2026

by Stephanie Christodoulidou

Photography by Malachy Luckie


 

 

 

 

GECKO

GECKO

GECKO