Review: Great Big Tiny World, Southbank Centre

Let’s cut to the chase. Great Big Tiny World must surely win awards. It’s an utterly awe-inspiring sensory work, crafted for babies from 0-12 months old, which creates a space in which to recognise that we are all part of an enormous, interconnected ecosystem. Importantly, each individual element – no matter how small – matters and makes a difference just by being.

The production was inspired by a realisation writer Ellie Griffiths of Oily Cart had when walking in the forest with her new baby. Recognising her child’s differing responses and relationship to the world made her perceive it differently herself: things had changed forever because this new being had arrived. She became conscious of being part of a global interconnectivity. Great Big Tiny World creates a microcosm in which to embrace this idea.

The Blue Room at Southbank Centre hosts an intimate, circular space crammed with plants and roofed with tented fabric. There’s a hugely joyful, jungle vibe as babies and carers share space together, within the round and with their peers. It reminded me of Nature on Prescription, which acknowledges the health benefits of spending time with the natural world, attesting to our active relationship with the planet.

As a sensory performance, there’s no definitive narrative. Instead we are bathed in an elemental awareness of the natural environment. Non-literal languages of movement and sound communicate understandings and create a macro enactment of the world we all share. The children are captivated: you could hear a cricket cheep. And we did.

The performers gently engage with the babies, inviting them to interact using time, texture, light, sound, and scent. They playfully bring animals to life, imitating elephants or animating hedgehogs and snakes using everyday materials like hairbrushes and gloves. The whole is totally child focussed, great fun and aesthetically delightful. The actors echo the children’s voices and mimic their responses, acknowledging that they are seen and have importance.

Beautiful shadow work brings the jungle to life, with leaves flickering across the ceiling and across the living beings beneath, and fireflies sparking in the semi-darkness. It’s magical! Halfway into the show I found myself thinking “What sorcery is this?” as babies sat spellbound, soaking it up. A gorgeous soundtrack (Max Reinhardt) washes over the visuals, suggesting the presence of creatures and making elemental forces – including a storm – palpable. They listen keenly, eyes following the action, or hands splashing excitedly in beautifully lit water, eager to interact.

Oily Cart famously recognise not just six but up to 33 human senses. Here, there is awareness of things that are not visible: a simple water spray identifies the air around us, diamond-like drops sparkling in suspension. Some senses include responses that occur when people share proximity with others. At one point this is tested as the babies are given their own space to just “do their thing” and become an active part of the performance, again marking their validity and agency.

There were moments were some children squawked a little, but the relaxed environment meant they were able to step out and return when ready. This too offers a message that the world may be scary at times, but we can navigate it together.

By the end I was actually a bit emotional, perhaps from the insightful statement to the children: “The world is different now you’re here.” It speaks to our future with them as custodians. This exceptional show helps teach us all about being together in the now; celebrating and valuing every element of this space of wonder that is our Great Big Tiny World.

Co-directed by: Ellie Griffiths & Orin Edelman-Grifiths
Design & Eco-scenography by: Andrea Carr
Original Design Concept by: Dr Tanja Beer
Composed and Musical Direction by: Max Reinhardt

This run has now finished. You can find out more about Oily Cart’s work here.