HERE BEGINS THE SPOILER ALERT
Inevitably, Secret Theatre will be secret no more if you read this post. So yeah, read on if you’ve seen the show, don’t care about the ‘secret’ bit or have no intention whatsoever of seeing it (though you’d be a fool if that were the case).
HERE ENDS THE SPOILER ALERT
In this review, I’ve tried to experiment with not including the play’s title, its author or key plot points, just to see how much it is possible to discuss a show without those things. I should also probably say that I went to a small Q&A with Sean Holmes before the show and subsequently chatted to some of the cast and creative team afterwards. Thought I’d put that out there in the interests of full disclosure.
First, it’s worth saying that Show Three is very different to Shows One and Two. We enter the theatre through a different entrance, end up in a different space and watch a piece of work tonally and linguistically different to its predecessors, which makes for a very different experience. In the first two shows, the tension was found by placing a deconstructed version of a ‘classic’, ‘canonical’ text in the context of a grand, ‘proper’ theatre space. In Show Three, it’s almost the opposite way round, with a fairly straightforward reading of a text being placed within the confines of a deconstructed theatre space. Continue reading Secret Theatre: Show Three