Transfigured by Oceanallover begins with a cautionary note: involvement from the audience is key to the event. This involvement simultaneously fails to extend beyond mere pleasantries and idle chatter, and is crucial to the outcome of the show.
An audience member is asked to pick a card, and when they do so, one of thirteen performers head a sequence relating to the chosen character. The unique segments that follow are usually centred around movement, with the occasional stand-out solo number for accomplished vocalists such as the Queen of Sorts.
Despite a repetitive structure, Transfigured never feels dull, as there is always an element of danger to proceedings. Oceanallover – one of Scotland’s leading producers of physical theatre – have produced a multi-layered, spontaneous piece that includes imposing physical movement, a wide variety of vocals and virtuosic live music.
It has to be said that satisfaction lands with the eye before the ear, thanks the intricate and mesmerising costume design. Across the seventy-minute run time, it’s not difficult to find a small flourish or touch that has eluded from the outset.
Pick a card, any card, you won’t be disappointed. Transfigured is an explosive expression of physical movement, with the power to invoke a spectrum of emotions.
Island Home (★★)
More than ever, harmony and acceptance are the goals for many seeking a home away from danger and hate. With Island Home, Katarini Cakova delivers a solo performance with multiple narrative threads, loosely tied together by the overarching theme of how to find one’s place in the world. Cakova’s piece is full of pop-up art, shadow play and object control – but in her desire to cover so many stories, Cakova waters down the overall effect.
Attempting to transform everyday objects into pieces of a grander puzzle, Island Home fails to convey the sense of symbolism it desires. There’s a breakdown in the ability to craft an illusion; a toy car is a toy car, a snow globe is still a snow globe. Cakova employs shadow play ambitiously, but these objects are still too literal in their physical form and so cannot metamorphose into whatever Cakova tries to make them.
Where puppetry is concerned, Island Home takes a more positive turn. Two of the piece’s many stories stand out. A brief tale of three fishermen who find themselves taking in a peculiar child from the shorelines showcases a spectacular dark and threatening design, with characters fashioned from rod puppets. The other is the production’s highlight – we witness a paper-craft journey as a young narrator describes traveling the seas in search of a better life. The waves gradually grow higher and more volatile, achieved through forced perspective and overlapping designs.
Island Home strives to weave multiple narratives, all attempting to address themes of acceptance and finding one’s place in the world. But what should be a piece that connects all limits its message to only those who can follow its ambiguous and loosely tethered stories.
Lamp utilises the simplest of object manipulation to create humour, unbridled chaos, and even blushing erotic displays. You’ll have to remind yourself that you’re looking at a lampshade; it really shouldn’t be sexy.
Co-creators Jess Raine & Jemima Thewes of Swallow The Sea are used to performing within a caravan, so the enclosed space of the Summerhall basement works wonders for their production. Clad in black, this is the rare instance where you do fully engage with the puppetry of the object, not the performer. Even when incorporating their body part in humorous takes on escapology, on the female form and sexual discovery, Raine & Thewes manage to give life to a tattered, frilly ceiling lampshade.
A highlight includes the use of literal hand puppetry to create creatures squawking into the audience, the pair of lamps now serving a tall nest. However, there’s a sense that a longer piece would have seen these sorts of ideas grow tired and repetitive. At twenty minutes, Lamp is lively and inventive but by the end it already runs into limitations.
Twa Pirate Quines (★★★★)
Fiona Oliver Larkin’s Twa Pirate Quines is a heart-warming, picturesque piece of theatre, with lashings of insightful design and minimalist puppetry. The story begings with a young woman fishing by the island coastline when a pirate queen, not too dissimilar from herself in appearance, sails into view. A relationship quickly grows between the two women, and the pair dance, sing and align themselves with one another to explore the seas and conquer foes.
The set is made up beautifully to resemble several coral pieces, sea matter and flotsam, and the production utilises soft lighting, shadow puppetry and cut outs to deliver the womens’ adventure in a poetic, gorgeously visual style. The ending of Twa Pirate Quines may seem bittersweet to some, but it’s a gorgeous finale befitting these characters. Small in scale, Twa Pirate Quines is a charming example of low-key storytelling.
Information regarding Manipulate Festival 2021 can be found at: https://www.manipulatefestival.org/