Review: Birdboy/United Fall, Sadler’s Wells

After a panicky wander around the slightly less glistening estates of Stratford, we finally regained the river, and there she glowed: Sadlers Wells East, a custom-built theatre and community space that resembles a stranded spacecraft of brick, quietly pulsating.

This was my first visit, and I was giddy about the organisation’s expansion (their fourth venue) and its part in the area’s ongoing economic regeneration. Trotting into the 550-seat auditorium and being greeted by a Volkswagen (something) plonked centre stage, with floating plastic bags trailing tentacles like aliens or air jellyfish, my hopes were high. If only they could remain so.

After a blackout, Kévin Coquelard appears in a bird costume spotlit to perfection perching on the top of the little car. He then worms his way into the side window backwards (impressive but often-repeated move) and begins an absurdist multimedia performance exploring… well I’m not completely sure if I’m honest.

The show blitzes lip-syncing, shadow puppetry, mime, and some choreography but none done to a very high level. The lip sync tracks are well chosen (Gaga, David Attenborough, some vintage radio) but Coquelard does not have the Orbicularis oris (lip) muscle precision for a truly remarkable performance. Equally, the shadow puppetry is basic, with the outline of the plastic sheets and hands visible throughout. Emma Martin’s choreography is frantic and Coquelard throws himself around, on top, bashing against and through every window of the car with feverish flagellations . However, what he conjures up with all this movement remains elusive.

As more “aliens” escape from the hood of the car, the piece grows more and more pleasing to the eyes. Orla Clogher and Martin’s work on set and costume is delightful, a Burton-esq palette. The Volkswagen should be mentioned as a co-star, but of course, it’s Stephen Dodd’s blazing lights and Dunk Murphy’s collaged sound that animate it so effectively. Flashing headlights, steaming mouth-like lid, disco lights in the interior, I do hope it’s getting at least Equity minimum as I can’t name its model.

The problem is the piece is too sinister for children and too infantine for adults. Absurdism can easily descend into bewilderment, and the wealth of explored themes doesn’t seem to coalesce into any sort of vague narrative apart from a lingering and rather depressing sense of isolation. Children (and adults to a lesser degree) are a demanding and short-focused audience and despite its stamina, artistic eye and anthropomorphised automobile, I think many a mind will wander.

Written by: Emma Martin
Directed by: Emma Martin
Produced by: Emma Martin, Arts Council of Ireland, Culture Ireland

Birdboy/ United Fall plays at Sadler’s Wells East until Saturday 22 February.