A Bold and Unsettling Exploration of the black identity
“Traplord,” staged at Aviva Studios in Manchester, is a show that masterfully creates an atmospheric, almost immersive experience from the moment it begins. The production subverts expectations, even though it starts with a stereotypical image right from the start: the cast is dressed in military and combat-style black clothes and accessorized with gold jewellery. Through a mix of dance, music, and spoken word, “Traplord” tackles complex issues of racism, masculinity, privilege, and stereotypes with a visceral intensity that lingers long after the performance ends.
One of the most intriguing aspects of the show is its use of video game metaphors and projections, which cleverly bring the characters to life in a way that feels both innovative and raw. This blend of the virtual and the real adds layers to the performance, making the audience question what is real and what is merely a construct. Although I could piece together motifs and ideas, I could not form a narrative. But maybe that was the point – every part being better than the sum of it. However, some moments felt a little heavy-handed; for instance, the recurring pig mask, seemingly inspired by “Lord of the Flies,” felt a bit too on the nose in its symbolism.
The choreography is fluid and dynamic, seamlessly weaving between movement and narrative and spoken word (particularly with an entry about the connection of Manchester with the slave trade). Performances are consistently compelling, particularly Kanah Flex, whose discomfiting ability to contort his body stole the show and left a lasting impression. His physicality added an extra dimension to the performance, highlighting the tension between the human “shell” and the mental anguish.
Despite these strengths, “Traplord” does occasionally fall short in its storytelling. While it is visually stunning—a true feast for the eyes—the narrative thread feels loose at times, struggling to fully connect its many ambitious ideas. The motif of the “perfect human,” which repeats throughout the show, remains particularly puzzling, its purpose is never fully explained, leaving the audience grasping for a clearer message. This lack of clarity, coupled with moments of sensory overload, can make the performance feel overwhelming and disjointed at times.
Given its Olivier Award-winning pedigree, expectations for “Traplord” were understandably high, and in many ways, it delivers on its promise. It’s bold, challenging, and often uncomfortable, pushing the audience to confront their own biases and preconceived notions. However, with a bit more focus on narrative cohesion, it could transcend its already impressive achievements. For now, “Traplord” remains a powerful, if occasionally disorienting, exploration of modern identity that is as thought-provoking as it is visually captivating.
Runs until 29th Sept: https://factoryinternational.org/whats-on/traplord-ivan-michael-blackstock/