Review Origins – Animikii Theatre by Hannah Goslin

(3 / 5)

In this darkened room at the bottom of the Southbank Centre, an intimate setting with a small audience feels like a secret space for a spiritual group.  4 poles lit up, one with a hooded robe draped on it and boxes that remind me of some form of religious set, there’s a serious feel to the atmosphere, cleverly set by this staging and lighting that we are made to feel anxious for the performance to commence.

A physical theatre piece, the biblical story of Abel and Cain is the premise for this beautiful piece of work. For those unknown to the story, as I was myself, these two brothers are the direct descendants of Adam and Eve. Eventually, Cain murders his brother Abel which is unclear in the bible as to why. Many have understood it as it was through jealousy and envy in God’s attention to Abel and not Cain. Unfamiliar to this story, a piece made of physicality and sounds and no speech, Animikii Theatre did a fantastic job in telling the story.

We are introduced to these shirtless characters, who play with one another using the space to give the initial build-up of the brotherly connection. Using laughter, sounds and imitation of actions through avant garde physical metaphors, the audience giggle along with the almost caveman-like attitudes and relationship. This is all set in the concept of Cain’s memory – switching from fun memory and obvious timeline of events, to Cain’s switch into turmoil at this reminiscence.

The movement and choreography of the piece brings us into mystical interpretation of what leads to Cain’s mental destruction. A wonderful dreamlike state, Abel’s loveable and fun character turns into a devil like character in a red robe, who tricks Cain into false sense of securities. It’s unclear who this character is until we return to ‘reality’. The performers do well to switch from positive to negative, to evil to innocent and while we know the final out come from the initial physical summary at the beginning, it is still a shock.

The lighting in this dark room is versatile, and while we should base physical theatre pieces of the movement, the contouring of the body and interpretation, the lighting plan highlights the men’s bodies in these states to render us in awe at their physical abilities.

Origins creates the right atmosphere and does well to use physicality and sound to bring this ancient story to life.  We are pulled into the biblical story without a feeling that we are being forced religion upon us.  We relate to the relationships and actions which is in your face but not negatively.

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