“Performance at its finest, stripped of pretence”
Hidden, created by Motionhouse and Kevin Finnan MBE, is a masterpiece of a performance from beginning to end. Split into two acts — Descent Into Darkness and Finding The Light — the piece centres around seven performers who explore the meaning of humanity through movement and interaction. Coupled with the technical aspects of the show (namely lighting, projection, sound, and the set), they create an impressively and engagingly complex narrative of humanity and connection.
Finnan’s goal was to remind the audience that “the best of humanity is when we put the needs of others before our own” (taken from the programme). This is a goal that is more than achieved. The performers depict various parts of everyday life, but, beyond this, they depict various aspects of humanity — love, hate, desperation, unity, alive. Throughout, there is a constant search for connection, for the physical touch of the other performers, which is given only in small doses through Act One. Act Two offers touch and togetherness in tenfold, highlighting its power and significance in tragedy and struggle. The ephemeral moments of togetherness found in Act One end up disparate, adrift, as performers seek each other out on the large stage. These seconds of unity serve as a reminder that people are part of the same species, with the same desires buried deep down. This is only emphasised throughout Act Two, Finding The Light, where the light the performers find reflects the intimate, personal connection each of them have with the others. In Act Two, performers move as parts of a tender whole.
The fluid, often ferocious movements of the performers feel almost prehistoric. They move with a sure-footed precision that was enough to stun the audience within the first few minutes. All of the stunt work is beyond impressive, as are the performers’ interactions with the mobile set pieces. The metal structures onstage are simultaneously objects and subjects, used by the performers while also under scrutiny for what they represent themselves. At times they serve as projectors, displaying busy streets, the privacy of a living room, the bustle of a London tube station. The inclusion of these projections enhance the performance that unfolds, adding a further layer to the already awe-inducing experience.
Finnan explains he worked closely with the performers while developing and creating the show: this is evidenced in the trust the performers have in each other and themselves. While it is clear they are pushing themselves, they move with certainty, with a knowledge of the message they wish to send. The beauty of this genre is that it can be interpreted in multiple ways, but the performers tell both one synchronised story and individual ones.
Every various factor of the performance is carefully considered and crafted to tell a narrative, from the lighting and sound to the set and plastic wrapping used in dance — the latter of which being biodegradable. In this dance, one performer rips herself free from plastic wrapping, attempting to tug another to safety, only to end up subsumed by plastic again. The other performers control the movement of the set pieces, using them to entrap the two women, working as a singular antagonistic unit.
There are many other incredibly moving moments within the show, which is a must-see regardless of interest in physical theatre and dance. Accessible for theatergoers of all kinds, Hidden is a unique performance necessary for the contemporary world. In times of distress, connection and solidarity are crucial: Finnan’s creation reminds its audience that togetherness will always combat society’s darkness and isolation.
Hidden by Motionhouse was performed at the Theatre Royal in Glasgow on Tuesday 17th February 2026 before continuing its tour. Tickets and further information can be found here: https://www.motionhouse.co.uk/production/hidden/.