“An ambitious adaptation driven by technical brilliance”
Imitating the Dog is known for pushing multimedia boundaries and War of the Worlds takes this to new heights, using forced perspective, model worlds, camera tricks and projection with live and recorded content, blending the animate and the inanimate to create a modern take on the classic novel.
Four performers work together to deliver this technically brilliant production. Bonnie Baddoo, Morgan Bailey, Gareth Cassidy and Amy Dunn operate cameras live on stage while simultaneously performing, creating a constantly shifting theatrical language.. The sheer amount each cast member has to consider is almost unbelievable. Managing props and angles while sustaining character and narrative momentum requires extraordinary coordination and is a joy to witness. The level of detail and impact of each movement only emphasises the complexity of what is unfolding on stage. A particularly impressive sequence sees a miniature set transformed into a cinematic landscape in seconds, the performers’ movements perfectly timed to give the illusion of scale and devastation. The craftsmanship is undeniable.
Where the production falls slightly flat is the storyline. Inspired by the H.G. Wells novel and the 2005 film, the modern take follows Will Tavener navigating the UK while experiencing an apocalyptic disaster. Mechanical creatures reduce the living to ash, and after waking from a mysterious hospital incident, Will embarks on a journey of survival and self-discovery. The apocalyptic feeling that runs through rings true to the earlier material and attempts to bring modern-day issues to the surface. The message of destroyed homelands forcing people to the Channel feels like a symbolic comment on displacement and resilience, and is cleverly woven into the narrative.
What is challenging is the lack of emotional depth around certain characters and topical issues. Certain relationships, particularly that of the protagonist’s wife, feel underexplored, making it harder to invest in the human stakes of the story. It is possible that this emotional distance is intentional – a reflection of trauma and disorientation – but it leaves gaps that the visual spectacle cannot entirely fill. In contrast to the meticulous detail of the staging, the character development feels sparse.
That said, the ambition of this production is difficult to ignore. Even when the storytelling lacks depth, the theatrical innovation remains compelling. Those interested in seeing the backstage effort that goes into productions and who enjoy dystopian set worlds will certainly enjoy and ponder on this version of War of the Worlds. After a run at The Lowry, the production continues its tour across the UK until May 2026. Tickets are available here.