C-O-N-T-A-C-T

London – Central

(Various London locations are available)

Reviewed – 4th September 2020

★★★★

 

“feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic”

 

C-o-n-t-a-c-t is an outdoor immersive promenade production, that takes place on the edge of the river, five minutes from Monument tube (other locations are available). Plugged into headphones, through a previously downloaded app (all very simple, and efficiently handled by the facilitator, who we meet 10 minutes before the production begins), the audience hears the thoughts and conversation of the two characters, one of whom we are instructed to follow.

The concept is a simple one, and reminiscent of Wim Wenders’ masterwork Wings of Desire: a guardian angel is on earth in human form, and he has appeared in order to help a young, lost and grieving woman get over the death of her father. Written by Eric Chantelauze, it is a delicate 50 minute reflection on grief. In Quentin Bruno’s English adaptation, the writing is predominantly colloquial and straightforward, with occasional excursions into a slightly more meditative realm, and for the most part works well, though an unfortunate last minute detour into Latin does feel hackneyed and unnecessary. Max Gold, as the angel Raphael, fails to convince in this instance, and the grandeur of the language reduces, rather than enhances, his angelic aura.

This was a rare jarring moment however. Samuel Sené (director and creator of the original production, along with Gabrielle Jourdain) has put some lovely subtle movement sequences in place within the characters’ walk together, and there are many moments of gentle beauty, particularly in Laura White’s performance as Sarah, which seamlessly embodies Aoife Kennan’s spoken narrative. The atmosphere is also hugely enhanced by Cyril Barbessol’s contemplative, melodic piano, which is a continuous musical thread throughout the piece, and works brilliantly under a London sky and against the grand, ceaseless flow of the Thames.

In these strange and pretty desperate times for live theatre, C-o-n-t-a-c-t feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic on a September evening. Highly recommended.

 

Reviewed by Rebecca Crankshaw

Photography by Pamela Raith

 

C-O-N-T-A-C-T

Various London locations until 4th October see www.contactshow.co.uk for full details

 

Previously reviewed this year by Rebecca:

Dadderrs | ★★★ | The Yard Theatre | January 2020

In A Way So Brutal | ★★★★ | The Yard Theatre | January 2020

Santi & Naz | ★★★ | The Vaults | January 2020

The Maids | ★ | Hen & Chickens Theatre | January 2020

Tom Brown’s Schooldays | ★★ | Union Theatre | January 2020

Ghost Stories | ★★★ | Theatre Royal Brighton | February 2020

Since U Been Gone | ★★★★ | The Vaults | February 2020

The Fourth Country | ★★★★★ | The Vaults | February 2020

The Tin Drum | ★★★★ | The Coronet Theatre | February 2020

Henry V | ★★★★ | The Barn Theatre | March 2020

Superman | ★★★½ | The Vaults | March 2020

Fanny & Stella | ★★★★ | The Garden Theatre | August 2020

 

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