![]() ![]() Director George Mann says he was "filled with a sense of urgency to make the play", describing it as a way for him to "express his deep concern about the kind of society we are sleepwalking into." He does a good job. In itself the story isn't groundbreaking stuff, but as a piece of visual, physical theatre you will be gripped. Within all this is the story of a relationship breakdown and a soap-opera style revelation about who an agent's mother is. This is a vision of the future but it is very much rooted in the present, a present where David Cameron is currently pushing for the police and secret services to have even more access to our data. A torture scene behind a white sheet uses shadow play to powerful effect, illustrating psychological torture especially well and recalling the catalogue of techniques used by the CIA and recently made public. The enveloping darkness that hides the hands behind the moving lights is a vehicle for a kind of puppetry – the actors manipulate the beams and tiny handheld lights in way that gives them independent life and new meaning. ![]() There are voiceless shouts, sometimes deciphered by surtitles, but most of the meaning comes from their stellar movements. The cast are brilliant mimes, convincingly occupying the light and sound space they create, and communicating without spoken words. The actors are completely in sync with the sound, which adds the essential extra layer to bring their world to life. The sound design (by Chris Bartholomew) is equally powerful and incredibly effective – both the sound effects and the music. The humble torch becomes a star here, casting fantastically atmospheric beams of light that pick up every dust particle swirling on stage. A dirty red light indicates we are in someone's 'mind space'. Little red lights cleverly show thought data being sent and captured green lights represent freedom from being watched. The actors use torches and LED strip lights to create the futuristic landscape they move through. 'Light' was inspired by the revelations of Edward Snowden and starkly explores a possible outcome of our willingness, or otherwise, to give up our personal information. The implant isn't optional but if you have nothing to hide you have nothing to fear. Except torture by the authorities of course. The invasive new implant technology will apparently free people from terror, crime, any evil you like. Using no set and barely any props, the company cleverly uses brights lights and deep darkness to construct a terrifying future where everything we ever think of is collected as data. Theatre Ad Infinitum's pacy new show takes us on a journey into a dark, dystopian future where we have gone beyond the smart phone and embraced the implant. ![]() 'Light' – Theatre Ad Infinitum | London International Mime Festival ![]()
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