Fast paced and surprisingly cinematic, this cleverly crafted whodunnit constantly leaves you guessing what the characters are keeping under their (enormous bright red) hats…
International physical theatre company Vozol Collective have created a wonderfully unique show which I feel very lucky to have watched on opening night, fresh from its successful run at the Edinburgh Fringe. Artfully referencing the aesthetic of classic Wez Anderson and Hitchcock spy films, the company brilliantly executed their intention of ‘blurring the lines between the theatrical and the cinematic’. Not a beat was dropped in this episodically told murder mystery, in which the cast of four actors expertly multi-rolled as a curious collection of distinctive characters, with various accents further highlighting the performers’ impressive versatility. In just one act, the Northwall’s bare, end-on stage is transformed to the bustling streets of London, Paris dancefloors, high security offices in Switzerland and even to the inside of a rocket ship! All this is depicted exclusively through playful and comic physicality, in which the cast’s Lecoq movement training shines through wonderfully.
Upon entering the auditorium, Musical director Frederik Waxman and a brand new musician making his debut with the company were positioned down stage left, welcoming us in with a suspenseful yet jolly soundtrack. This was played live, achieved with just a piano, a drum kit and an electric guitar. The pair remained on stage throughout the remainder of the show, musically punctuating each moment with expert comedic timing. Shortly, after a sudden blackout, the lights went up on the cast positioned in an inventive picture of French copywriter Roger (Paul Lefferon) asleep in bed. This transitioned swiftly into Roger’s tightly scheduled and highly mundane morning journey to work during which newspapers were transformed into birds, sliding tube doors and an invasive neighbour’s window. Their story was told through a series of stunning tableaux interwoven with comic dialogue, with particularly effective use of hilarious slow motion sections and dynamic acrobatics.
Before long, our protagonist’s uneventful days were interrupted by several seemingly inexplicable events, heightening our curiosity of the mysterious plot. This included a series of exhilarating near death scenarios, the most severe of which involved Roger handstanding his way out of an emergency parachute before dive-rolling over a castmate to the very front of the stage. I especially enjoyed the decision to have an actor play the role of the bullet, adding a hilarious, teasing tension to the scene as their hunched body edged tentatively closer and closer to Roger, who reacted in an amusingly nonchalant manner.
At points, I was disorientated by the snappy whirlwind of action, and struggled to follow the details of each absurd event. However, this did not at all take away from the brilliance of the company’s comedic physical theatre skills. Just as this ridiculous plot climaxed at an almost indecipherable tangle of accusations and miscommunications, the murderer was finally revealed in a shocking and highly comic plot twist. Throughout, the show was bursting at the seams with action- packed energy, sometimes literally in the case of Emily Wheatman, who deserves high commendation for her masterful handling of a rather drastic costume malfunction. There were a few mishaps like this, but that is only to be expected on the first night of a new run, and was no obstacle for the innovative cast.
This company is certainly one to watch, and I would highly recommend catching them on the remainder of their UK tour if you fancy creative storytelling and a good laugh.