Co-produced by Catherine Wheels and Teater Refleksion

Review by Dominic Corr

Patience is a scarce commodity in theatre, and even rarer is the confidence to build an entire production upon it. In a time where instant gratification is at a swipe or the finger; In Time, a co‑production between Teater Refleksion, Andy Manley and De Røde Heste, places patience at its very core – resulting in a piece that feels meticulously crafted rather than simply performed. At the Traverse, it unfolds with a quiet precision that never once seeks to rush its audience, instead inviting them into a world where meaning emerges slowly, deliberately, and with remarkable clarity.

Two figures – known only as A and O – arrive at an undefined structure, a tall wooden presence that resists explanation. They’re responsible for a plant; to nurture and aid. That’s all audiences really need to understand. There is no overt framing, no narrative signposting. Instead, the production allows these characters to establish themselves through action alone. Played with extraordinary control and nuance, the performers construct identity through movement and timing, drawing on a physical language refined to its purest form.

Andy Manley’s influence is unmistakable here, not only in performance but in the shaping of rhythm. Every gesture, pause and moment of stillness feels calibrated. There is comedy, certainly, but it is never pushed beyond what the moment requires. A slight stumble, a carefully timed reaction, a fleeting glance between the two characters—each contributes to a dynamic that is both playful and deeply human. It is theatre that understands that connection lies in detail, not exaggeration.

The arrival of the seed marks a shift that is both simple and profound. What begins as a minor disruption gradually becomes the central force of the piece. Nurtured, observed and celebrated by A and O, the seed grows incrementally, each stage marked with ritualistic care. These “leaf days” become a kind of temporal architecture, structuring the narrative without ever imposing it.

The contribution of both Catherine Wheels and Teater Refleksion is felt in the production’s tactile intelligence. Known for its work in visual and object theatre, the company brings a sensibility rooted in material storytelling. The plant’s growth is rendered through subtle transformations—practical, visible, and quietly magical. There is no reliance on technological spectacle; instead, illusion is achieved through skill and ingenuity, reinforcing the production’s commitment to theatrical fundamentals.

What elevates In Time beyond a beautifully executed piece of children’s theatre is its layered emotional architecture. On the surface, it is a story of growth: a seed becoming something larger, something alive and expansive. But running parallel to that is a quieter narrative—the transformation of the caregivers themselves. A and O, in nurturing the plant, are themselves reshaped by the passage of time. 

This transformation is handled with extraordinary subtlety. Physical shifts accumulate gradually: posture alters, movement slows, small details begin to suggest age and experience. It is never announced, never underlined—simply allowed to emerge. The result is a deeply affecting portrayal of time’s passage, one that resonates without drawing attention to itself.

Crucially, the production resists the temptation to moralise. There is no overt lesson, no neatly packaged conclusion. Instead, it offers something more generous: an opportunity to observe, to reflect, to recognise. The act of nurturing, the inevitability of change, the quiet necessity of letting go—these themes are present, but they are never imposed.

Visually, the piece remains elegantly restrained. Axelsen Sigaard’s central set, anchored by the obelisk-like structure, provides a consistent point of focus without limiting the space. Costume, design and Danny Krass’ sound all operate within a carefully controlled palette, ensuring that nothing distracts from the performers and the evolving narrative they carry.

What emerges is theatre in its most distilled form. No excess, no indulgence – just a clear, unwavering commitment to craft. It is rare to encounter work that feels this complete in its simplicity, this assured in its execution. Surrounded by an over-stimulating world which craves attention, In Time earns it quietly and completely. Few productions manage to speak across generations with such clarity, rarer still those that do so with such grace. An exceptionally crafted piece of theatre—measured, inventive, and profoundly moving.

---