Review: Conchola, Soho Theatre

Live trumpet and drums open Conchola with an irreverent roar – a fitting prelude to an hour of witchy mayhem that is part spell, part satire, and fully charged with feminist energy. Playing at Soho Theatre as part of the London Clown Festival, this is not your typical horror homage; it’s a clown show with claws, teeth and heart.

At its core, Conchola taps into the cultural mythology of the witch, showing her not as a monster, but as a metaphor: for untamed female power, sexual autonomy, and the unbreakable force of sisterhood. These witches aren’t characters; they’re archetypes, or as the performers themselves declare, “not mortals, but concepts”. That line sums the experience up well – a theatrical fever dream where symbolism, satire, and absurdism collide.

The dual performances by Paulina Lenoir Guajardo and Patricia Langa are the backbone of the piece. Lenoir’s calm, deadpan delivery gives her a commanding stillness, while Langa’s physical expressiveness offers an electric, kinetic counterpoint. The contrast is striking, though at times the energy plateaus: when a character leans too heavily into a single emotional or performative tone, the momentum can lag. But when the duo find their rhythm, through explosive choreography or eerie minimalism, the show takes flight. It never takes itself too seriously, and that’s part of its power, played with conviction, not cynicism; and that sincerity lets both the humour and surrealism breathe. 

Design plays a vital role in the production’s impact. The costumes are visually rich and symbolically loaded, drawing from Lenoir’s Mexican and Langa’s Spanish heritage. From animal forms to Marian iconography, each look adds texture to the storytelling. Smart lighting design amplifies these visuals, carving sharp silhouettes and enhancing the ritualistic atmosphere.

The physical comedy and choreography are highlights, executed with precision, boldness, and total commitment. The performers exhibit a deep command of their instruments: body, face, voice, and even silence. A standout moment comes in a shadow-puppet sequence, which is a haunting, hilarious story told with clever lighting and distorted silhouettes. It feels like stumbling into a surreal Bergman short, equal parts unsettling and delightful.

The second half, however, verges on sensory overload. Layers of accent work, character switching, and visual chaos build to a point where the emotional core risks getting lost. It’s anarchic, yes, but the throughline becomes hard to follow, and it becomes uncertain where the focus lies or what is being asked of the audience.

While Conchola dazzles in moments and bursts with potential, its messiness occasionally undermines its message. Still, it’s a bold and unique entry in the London Clown Festival – imperfect, but worth witnessing for its risks and raw theatrical power.

Created by: Patricia Langa and Paulina Lenoir
Music by: Sarah Woolfenden and Ago Hernandez

Conchola has completed its run at Soho Theatre as part of the London Clown Festival.