"This company know how to engage an audience’s attention – we were held spellbound for almost an hour.... Enchanting images. Unforgettable. Some productions lead the audience by the hand, but not this one. We were treated as adults, made to confront the messy reality of someone’s consciousness, and forced to draw our own conclusions – based, as in real life, on incomplete evidence. An exhilarating experience, immersive and challenging. Theatre to make an audience look deeper at life – and at ourselves." Strat Mastoris, Fringe Review (For full review click here). 

 

"As Savini and Orbanic move around the pitch black stage, they shine a small ray of hope onto the audience – sometimes a silhouetted spotlight, sometimes a handheld light that they manipulate, ethereal and otherworldly. Then this is wrenched away, jarring & piercing noises and crackling sound effects disorient the audience once more and plunge them into the unknown, the dark, the anticipation. The whole combination paints a wonderful picture without colour, abstract and intriguing" ★★★★ Daniel Perks, The Reviews Hub (For full review click here).

 

"Fye and Foul's Cathedral was powerfully intense, engaging and brave!" The New Current. 

 

"This is a performance that needs to be experienced not described" Terry Eastham, LondonTheatre1

 

"The use of lighting is clever in its visualisation of the unreliability of memory....Towards the end, one particular memory is recounted and then layered over and over itself, wisely reminding us that often it’s not the memory but the story we’ve repeatedly retold ourselves that forms our opinion of the past." Holly O'Mahony, A Younger Theatre.

 

"...two performers begin to act out not the scenes being described, but rather their memory, or perhaps just the feeling of the memory.  Sometimes their movements are slow and measured, at other times quick and erratic. With handheld lights, they cast ethereal shadows across the stage adding to the surreal quality of the disembodied voices. The clever use of light focused solely on a performer’s mouth, for instance, seems synchronized with the recorded voice but as sound and performer slowly become uncoordinated the scene eerily mirrors the disintegration of memory as we might experience it...As a whole, the experience of the performance recreates well the feeling of memory, which its research, partially supported by the Wellcome Trust, sets out to explore". Jo Squires, Total Theatre.

 

 

 

 

 

Cathedral

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