Though peppered with arresting motifs and rousing choral moments, Gecko’s dated and disjointed anniversary production ultimately misses the mark.Rating
Ok
Physical theatre company Gecko makes its Sadler’s Wells East debut from 21-24 January with The Wedding as part of MimeLondon 2026. Originally staged in 2017, Gecko teamed with Sadler’s Wells East for this reimagined staging to mark the 25th anniversary of the company’s founding. The Wedding explores ‘the complexities of human nature; the tensions between love and anger, creation and destruction, community and isolation’. With an international ensemble, the eight performers seek to conjure a ‘dystopian world in which we are all brides, bound to society.’
The performance takes the audience on an entangled journey where characters are introduced into a way of life that strips them of identity and autonomy. The idea of being ‘married to one’s work’ is explored quite literally, with new arrivals being donned in wedding dresses (designed by Rhys Jarman) before disappearing into their new pre-destined life. The cast all speak different languages, toying with the question of whether language is truly integral for communication and connection. Even when the words are not understood, the intention behind them is clear, and they galvanise each other (and the audience) to confront our existence and seek connection over isolation.
There are some inspired moments within the production: a dreamscape sequence which leaps from the stage and is very cinematic in quality; and a captivating ensemble choreography that migrates into a spirited, melodic chorus. However, these moments are far and few between, and the story overall translates as clunky and antiquated. In a scene where the workers rebel, it comes to a crescendo in an over-the-top ‘eat the rich’ proletariat versus bourgeoisie confrontation. It feels both out of date for the times and out of sync with the rest of the production, as there isn’t enough emotional progression to escort the audience to this point. From socio-political declarations of identity to clowning segments slotted in sporadically, each component is disjointed and lacking in narrative flow, as though assembled from separate productions altogether. For a production that was devised by its ensemble cast, it’s disappointing not to feel a sense of harmony in the work as a whole.
The style of Gecko brings to mind companies like Complicité and Frantic Assembly with the clowning elements of Cirque du Soleil. The strong use of physicality to create stark imagery, and the use of bodies as instruments to facilitate the storytelling, all share close similarities to these fellow well-established troupes. But, though the agitprop presentation of themes in The Wedding may have hit more pointedly in 2017, it now being almost a decade since the production’s inception, the narrative requires a more contemporary retelling to engender any form of transformative discourse post-show.
Artistic Director: Amit Lahav
Set and Costume Design: Rhys Jarman
Lighting: Joe Hornsby
Sound: Jon Everett
With original music by Dave Price
Performers: Mario Garcia Patrón Alvarez, Lucia Chocarro, Madeleine Fairminer, Vanessa Guevara Flores, Ryen Perkins-Gangnes, Saju Hari, Wai Shan Vivian Luk, Miguel Torres Umba, Dan Watson
The Wedding plays at Sadler’s Wells East until Saturday 24 January.
