A playful spectacle of dance and puppetry that invites us to hear the call of precious treasures and follow wherever they lead.
A museum approaches closing time, its artefacts locked away, but five visitors take a little something with them. Created by Theatre-Rites, directed by Sue Buckmaster and choreographed by Gregory Maqoma, Return to the Forest plunges us into the magical world of stolen objects wishing to be freed.
The audience is gripped immediately, guided from real world to fantasy. With a brilliant team of set, costume and puppet designers, the new world we discover blends the harsh edges of modernity with the freedom of nature. A stand-out moment is when a CCTV camera morphs into a giant beast, parading around the space covered in fur-like wires.
The use of puppetry throughout is inventive and immersive. We are introduced to a range of distinct puppet characters who guide our explorers through the world. The puppetry is expertly directed by Sue Buckmaster, and the performers, particularly Teele Uustani, bring it to life with phenomenal skill.
Gregory Maqoma’s choreography is fresh and creative. He has created an ensemble that moves mesmerisingly, with inventive silhouettes and excellent use of space. The movement is fierce with personality and combines harmoniously with the musical composition.
All five core performers are a joy to watch. Each has their own poise and mannerisms, yet all meld flawlessly into an ensemble. Whilst their dynamism and physical abilities are stunning, their use of humour shines, grounding the fantastical and creating relatable moments. Their high energy and technical skills are a joy to watch.
The sound design, co-composed by Frank Moon and Domenico Angarano, is especially impressive. It guides the audience through a variety of moods, from apprehension entering the museum to the joyous uproar of the puppetry. Xolisile Bongawa gives an excellent musical performance later in the piece, playing drum-like bowls and singing in such a way the audience cannot help but be spellbound.
I want to commend Return to the Forest’s sense of play and its inclusion of younger audience members. Guided by a childlike wonder, it gives children the space to discover the joys of masquerade and global folk traditions without judgement. Children are invited to engage with hiding objects or pulling strings on stage, which will hopefully create a lasting memory.
Perhaps more story structure would lend itself well to this piece, in order for a younger audience to better follow the narrative. As the piece was immersive but structured, being shepherded from one room to another could break up the experience for some, though transitions were largely smooth. As the show is so inventive, some transitions do seem a little drawn out to allow for costume changes or for props to be hooked up to pulleys, however the performers do an excellent job of masking this.
This piece acts as an excellent starting point for children to start asking questions about global traditions, ancestry, and the repatriation of stolen objects. Seeing the artefacts up close in the museum space ahead of the performers’ heist gives the audience the chance to exist in the space before the story begins. It encourages us to consider the lives of artefacts we see in glass cases, and boldly puts these stories on display.
Overall, Return to the Forest is a fantastical journey to another world, or perhaps to a time before. Thoughtfully made with playfulness at heart, this show will spark curiosity in children and adults alike.
Return to the Forest runs until 10 May at Factory International, Manchester before heading to Sadler’s Wells East, London from 28 to 30 May. Tickets here.