Igloos Don’t Melt is a new piece of experimental performance art which explores the experience of nostalgia, memory, and sense of place through the metaphor of literal blocks of ice. There is a complete lack of performativeness to the production; a folding banquet table and a small freezer are all that fill the space, yet it is captivating to watch blocks of ice be removed from the freezer, moved, stacked, and then dismantled through various means and methods. The audience are part of the performance; delivered through direct address, with moments of interaction it is almost like an oddly reflective and convivial stand up show. There is no narrative per se, I would classify the production as post-dramatic — which is really what makes it work. Ideas fill the space, yet we’re given the space to apply meaning to them as the audience, with minimal intervention. There are moments that don’t work as well as others, in particular a longer monologue toward the end about nostalgia could benefit from further integration with the physical elements of the performance. Yet many moments are thought provoking and really sit with you.
This was a piece steeped in theatrical innovation. The ideas within the show and their manifestation through the performance are truly innovative and push the edges of theatre and semiotics. In particular, the many ways to interact with ice — which literally melts and is smashed up, changing form and shape, causing us to see “reality” change before our eyes — is quite magical, and incredibly powerful.
solo show
Bitch Boxer @ Watford Palace Theatre
The 2012 play Bitch Boxer gets an update for 2025, with a fresh view of the young female boxer as a black and queer character. There is little need to change the text to achieve this, however this simple change breathes new life into the script, meaning that it doesn’t feel dated at all. Indeed the story of a working class girl, whose relationship with her father centres around her connection to sport feels even more relevant in the years since the Lionesses Euros win has invigorated a focus in women's sport.
The production is helmed by Prime Isaac in their first major theatre production as director; there is a vision at play here, and at times it comes together beautifully, however on the whole the direction is a bit uneven. It is clear which moments are clearly aligned versus those which felt a bit underdeveloped. This is unfortunate, as Prime has brought together an excellent actor, clever designer, and intelligent sound design — it just all doesn’t quite come together in a cohesive whole. Jodie Campbell is quite strong in the solo show, for her first stage performance, bringing a calm and nuanced performance. That said, the unevenness in the production as a whole is seen in her performance as well; while there are nice moments of giving her space to breathe and play, it also does mean that at times the production feels rudderless. This isn’t a discredit to Jodie’s work; she is engaging, funny, serious — and impressive, she skips and boxes like an athlete throughout the play.
What was strong, however, was this commitment to the community. Jodie is a Watford local, with her first stage performance, and in the Q&A following the show several audience members spoke up, commenting that they heard about the show on instagram or that they don’t normally go to the theatre. The local connection, centred around a stage newcomer, was really exciting to see, and clearly created a moment for the community.
WEER - Natalie Palamides @ SOHO Theatre
The sheer delightful chaos of Natalie Palamides show is central to its success. In a time when many shows aim to be polished and perfect, Palamides gives us rough around the edges and spiky. Centered around a couple and their downfall, with flashbacks to their meet cute, and all underscored by late 90’s music, the show has all the storyline makings of a meet-cute based rom-com from the period. However Palamides turns this on its head in many ways, most notably by playing both characters. And not in the way most solo shows do, but rather fully embodied through voice, movement and COSTUME across half of her body. The choreography to achieve this is nothing short of outstanding, and I regularly found myself marvelling at the stamina needed to perform this.
This is not the show for everyone - spiky jabs at late 90’s bro culture and the expectations on young women from a 2024 lens might be a bit much for some, but for me it is this clown-inspired means of taking the old rom-com formula to task while still revelling in its delights that make it exceptional.
This was my first of Natalie’s shows to see live, and it will not be my last.
NOWHERE - Fuel Theatre @ Battersea Arts Centre
Where are we safe? Khalid Abdalla’s solo show leaves nothing untouched in its challenge to the audience. Blending personal history with the politics that overshadow it, Khalid takes us through his family’s history as it relates to revolt, colonialism, and the current imperialist ventures in the West Bank and Palestine.
If it sounds heavy, it is - at times. But at times it is also darkly funny, light, playful, and despite the darkness, filled with hope.
Director Omar Elerian uses a brilliant blend of media to bring us this story - projections of old photographs, video which is and is not live (and it hard to tell when it transitions), and perhaps most movingly, images on a phone. To give the audience a story about contemporary uprisings which are made possible in many ways by the smartphone, which we far away primarily learn about through our phones, is nothing short of genius.
The play moves at a blistering pace and yet feels gentle, thoughtful. The performance, production, and script all come together in the most beautiful way, that the audience are left a little breathless, a little teary, and completely reminded of why we make theatre. This. This is why.