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The Spy In The Stalls - Matthew Wild

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‘An intense kaleidoscope that is so vivid that it takes on a breathing, seething life of its own’

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‘This is a surprisingly smooth fusion that feels darkly archaic rather than simply Shakespearian and adds yet another complex, murky layer to this unique production.’

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‘A stunningly visceral production.’

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‘From the subterranean setting, to meticulous use of props and lighting, to the fact that all three actors take their bow exhausted and filthy, it is impossible to imagine that something occult has not taken place for real. The ordeal, with all its rage and the mania, is genuine.’

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‘So ambitious and devastatingly odd’

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‘An intoxicating and unique production that deserves its place at the forefront of contemporary fringe theatre

 

 

TheatreThings - Liz Dyer

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'A spooky, dramatic and powerfully atmospheric collision of Shakespeare, Kate Bush, David Lynch’

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‘Director Anna Marsland brings this to life with an outstanding lighting design that picks out details, casts dramatic shadows and at times makes the whole space come alive with dizzying movement.’

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‘The spooky atmosphere is heightened by Odinn Hilmarsson’s sound design, which subtly draws out the existing soundscape of the venue to spine-chilling effect.’

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‘Equally chilling are the performances of the three actors, as each character teeters on the brink of their own unique madness.’

‘Conor O’Kane is the picture of despair and self-loathing as the Hollow Hero, a broken man who’s lost everything and has now been reduced to asking for help from his enemy.’

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‘David Fairs’ Fallen Tyrant is more controlled and charismatic in his exchanges with the Hollow Hero (I half expected him to start talking about fava beans and a nice Chianti) – but he too is tormented by forces beyond his control.’

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‘Enter Zena Carswell as the Spectral Queen: passionate, wild and mud-spattered, she’s the living embodiment of Cathy from Wuthering Heights.’

‘Though it continues the Golem! tradition of repurposing Shakespeare texts, Tomorrow Creeps is without doubt their most ambitious project by some margin.’

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‘It won’t be for everyone, but it also doesn’t exclude anyone’

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‘For those who know and love Shakespeare, there’s the enjoyable challenge of identifying the source texts; for fans of Kate Bush there are some electrifying moments that I won’t ruin for you. Having said that, there’s nothing in the play that demands inside knowledge – and someone with no particular interest in either Shakespeare or Kate Bush is at no disadvantage compared to any other audience member.’

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‘Go and see, hear, feel and experience it for yourself.’

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Miro Magazine - Daniel Perks

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‘To take sixteen of The Bard’s works and rearrange them into something entirely new, something otherworldly and mystical, sounds like utter madness. Thank the spirits that David Fairs is just that bonkers’

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‘An intellectually orgasmic event’

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‘Fairs’ true mastery lies in his wordsmithery’

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‘Full marks go to Anna Marsland. Marsland’s vision transforms this production, taking each element and galvanising them together into a cohesive singularity. It is very difficult to combine theatre with a sense of believable witchcraft on a budget, yet Marsland steers clear of the pitfalls – those of smoke and mirrors – and taps into the heart of any mysticism, or even religion.’

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‘Marsland uses subtle devices, not least of which is a truly spectacular lighting design, to conjure up a world built on rules and parameters. The extraordinary becomes believable…’

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‘Tomorrow Creeps brings something bold, something new and something transcendental to The Vaults.’

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‘In this cavernous, subterranean space (a perfect location for the show), we witness a metamorphosis. We watch as the words of the greatest playwright in history are transformed, mutated out of recognition, and we marvel at the result – it oozes originality, experimentation and risk. It does exactly what new theatrical work should – it pushes boundaries in an unflinching attempt to innovate.’

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MindTheBlog - Debbie Gilpin

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‘Fairs brings everything together to make the theatrical equivalent of a found poem with a twist, taking in a whole range of creative inspirations and translating that into a sinister, mysterious play.’

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‘With such a range of Shakespeare in use, it is very satisfying when you recognise a particular play or sonnet (I think I managed to spot 11 plays & one sonnet), but it doesn’t affect your overall experience of the piece – it’s neither distracting to notice something, nor does it feel in any way contrived. Everything feels incredibly natural, flowing together with ease’

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‘(Fairs, O’Kane & Carswell) …have tremendous physicality, and really seem to live the events of the play as they unfold in front of you.’

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‘It doesn’t matter at all if you don’t know any Shakespeare (or indeed, Kate Bush), which is part of the beauty of GOLEM! Theatre’s approach.’

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SciFi Bulletin - Paul Simpson

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‘Fairs’ script and the production draw on themes within Shakespeare and Bush to create something that stands firmly as its own entity.’

 

‘There are a number of tonal shifts within the play – not least created when the influence of Kate increases, culminating in a musical duet that reinterprets Bush’s work  as much as it does Shakespeare… which leads to a key sequence that blends sonnets and exorcism in a new way.’

 

‘strong performances from all three actors, particularly in the scenes where they are possessed, and where they’re delivering lines that must be as familiar to them as the audience but in completely different contexts’

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‘The Vault’s Cavern room works well for this and director Anna Marsland uses it to good effect, combined with a very encompassing sound design that changes the ever-present trains (the Vault being near Waterloo Station) into a darker, more life-connected presence.’

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