A riot of puns, puppets, and playful absurdity, this wonderfully chaotic celebration of death, art, and terrible jokes is unpredictable, and irresistibly fun, capturing everything that makes fringe theatre so alive.Rating
Excellent
Walking into The Others, the tone is immediately set: it’s intimate, dimly lit, and buzzing with eccentric charm. The DJ spins vinyl, people sprawl across mismatched sofas and benches, and the air hums with excited chatter. Even before the show begins, a cast member hands out programmes and pens in character, pulling the audience into an immersive world. The venue – part vinyl shop, part music venue, part art gallery – is an authentic, grassroots hub for artists and audiences alike. It perfectly complements the DIY, experimental energy of the evening.
The Immortalitea Party, created and co-written by the cast, markets itself as an interactive Halloween variety show exploring death and immortality. What unfolds is a gloriously chaotic mix of sketch comedy, puppetry, poetry, and pun-filled absurdity. Audience participation is integral: we crack “misfortune cookies”, sip tea mid-performance, and even write our own “oglituaries”. This interactive element works brilliantly, creating a sense of inclusion and unpredictability that keeps the show feeling fresh throughout.
Each act becomes its own miniature surreal world. In Matcha the Day, the ‘Tea Genie’ delivers a fully committed, tea-based sermon, punning with saint-like fervour. The crowd really enjoyed this one, as did I, especially when my preference for Earl Grey supposedly landed me in the morgue sooner than others. Bermuda Love Triangle stars Elvis Presley and two puppet eels in a crooning, aquatic, musical love affair. The humour lands unevenly at times, but the performers’ energy makes even the corniest puns entertaining. End of Life Drawing sees ‘Bob Rott’ paint a volunteer through the nine stages of decomposition – this mixture of forms so thoughtfully creative. My favourite is the improv poetry by ‘Human Remainsley Harriott’, who spins five audience words into a coherent, hilarious poem, even sneaking in ‘antidisestablishmentarianism’. Bravo.
The show’s charm lies in its joyful roughness. Characters are gloriously over the top. Some sketches lag or land less effectively, but the ensemble’s energy, timing, and chemistry carry the night. The homemade snacks – Mushroom Turnover in Your Grave, Okra Winfrey’s Fritters, and Dates with Death – provide a delicious, pun-filled extension of the performance, adding a communal warmth that reinforces the immersive atmosphere.
The evening closes with Its Own Animal, which sees a one-man dub band performing drums, piano, guitar, and vocals simultaneously. Hypnotic, inventive, and playful, this serves as a brilliant finale.
The performance is a joy. Uneven pacing and variable sketch strength are noticeable, but its unpredictability, inventiveness, and energy make it a triumph of small-scale, fringe theatre. And the show also offers great value with theatre, live music, homemade food, and a good cause donation to Kensal Green Cemetery.
Part of London Month of the Dead, The Immortalitea Party captures the festival’s spirit perfectly, exploring death through humour, performance, and creativity. For fans of experimental, immersive, and joyfully absurd performance, it is an unforgettable night of fun.
Cast: John Swale, Spike Zephaniah, William Benckert, Rebecca Reynolds, Kid Anansi, Adam Szabo
Written by the entire cast
Directed by the entire cast
Produced by: Mother Wolf Club
xx plays at xx until xx.
