A FRESH, DARING NIGHT WHERE ANYTHING CAN HAPPEN

By Natasha U’Ren-Ashdown | @tasha.ua ⭐⭐⭐⭐⭐ | Press Invite

Talking People is a show like no other… not even like their previous performance. This six-person performance is entirely shaped by chance and audience interaction, meaning that neither spectators nor cast know what to expect, which makes for a unique performance that feels completely alive in every moment. The variability begins immediately as Director, Richard Vincent, shuffles cards and flips them at random to determine the relationships between present and imagined cast members. Throughout the performance, Richard skilfully draws out the cast’s thoughts and secrets, adding surprising emotional depth. A particular highlight comes when performers playfully challenge Richard and what is revealed about them, a device that is both hilarious and lends a convincing authenticity to their reactions.

The venue is a well-known yet hidden gem in Soho. I had unknowingly walked past it many times before, but will now certainly return, not only for its stylish bar but for its intimate medium-sized stage and seating. The simplicity of the staging, with the cast mainly seated in their chairs throughout allows no decorative distractions and so the audience focus entirely on the unfolding story. Bright, open lighting keeps the room visible, enabling the audience to see one another clearly and subtly mirroring the transparency of the conversations taking place on stage. Knowing that we would play an active role in shaping the performance created an initial sense of nervous anticipation, but as the cast welcomed us in, the atmosphere quickly warmed. Soon the room was charged with excitement as the audience realised they were just as integral to the performance as the performers themselves.

Content warning: anything can happen.

On our night, that amusingly included uproarious conversations about relationships and AI-generated adult content.

The direction is ingeniously structured in its alternation between open group conversations and moments where a single performer is isolated from the rest of the cast, who are treated as though they cannot hear the audience’s questions. This allows the audience to probe individual characters and enrich the unfolding story. Alexander Theo seized this opportunity with confidence and emerged as the standout presence on the night. The audience warmed to him instantly, and his performance was so compelling that it was easy to forget he was acting; he brought out the evening’s biggest laughs and affectionate sighs. Aliyah Odoffin was similarly compelling when taking charge of scenes which commanded well-deserved attention. Only after the interval did I begin to reassess Amelia Clarkson’s behaviour, as my friend and I discussed how shockingly she had treated others before it suddenly struck us: her entire narrative was completely improvised. The show is so immersive that it blurs the line between fiction and reality, a testament to the remarkable skill of the whole ensemble.

Most impressive was the cast’s ability to handle arguments with wit, a particularly admirable feat in a fully improvised setting. With that in mind, there is very little to criticise in this performance. One minor issue arises during moments intended to be private exchanges between an individual performer and the audience, when other cast members occasionally react or refer back to information they should not know, slightly weakening the intended effect. That said, when inevitable improvisational slips occur, the cast embrace them with humour, often turning them into some of the evening’s funniest moments.

Overall, the inventive freedom of this performance of Talking People lingers long after the curtain falls, leaving you energised by the sense that you have witnessed something entirely unique. Because every element is shaped in the moment, no two nights can ever be the same, and that unpredictability is precisely what makes the show so compelling. It is rare to find a production this collaborative and this willing to take risks in front of its audience. You leave the theatre thoroughly entertained and curious about what a return visit might bring, a powerful testament to the cast’s creativity, quick thinking and chemistry. It is a show so immersive that you forget where improvisation ends and reality begins, a thrilling reminder of how exciting live performance can be at its very best.

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