Zoo Roxy, 9 – 20 August 2010
Reviewed for the British Theatre Guide
Everything about Threshold is a secret. The location is a secret. Most of what happens there is a secret. Whatever happens that isn’t a secret happens for secret reasons. Everything we learn is a secret revealed: scraps of overheard conversation; scenes glimpsed through the undergrowth; comments that slip out in unguarded moments: all information we know we shouldn’t know, and for that we treasure it all the more.
Three hours in the late afternoon is a big commitment at the Fringe. Be reassured that Threshold is a three-hour show, not a one-hour show plus two hours’ travel time, even though two of the three hours are spent travelling. The outward journey is for tipping us subtly, uncomfortably sideways and out of the real world. The return journey is for sharing the secrets we’ve learned. The moment you think it’s over is the moment Threshold puts on its triumphant final spurt. It is worth three hours of your time.
The middle hour is one of excitement, adventure, voyeurism, uncertainty, guilt and heartbreak. With a few deft touches our hosts gain our trust: from the start they trust us enough to share secrets, enough to rely implicitly on our support in a confrontation, and so we trust them back. When our guide breaks into a run and we follow suit without a thought it’s not just because we know we’ll get lost or miss the action if we don’t keep up; it’s because we understand why they’re running, so we run for the same reasons.
A secret isn’t a secret unless someone’s left in the dark. Roughly one fifth of the people that witness each major event in Threshold will be party to all the information required to fully understand it. Each occurrence we do understand strengthens our conviction that first, there must also be explanations for the events we find incomprehensible, and second, there will be people on the return journey who have discovered those explanations.
Whether anyone can be persuaded to reveal what they’ve learned is another matter. Threshold relinquishes but one piece of advice willingly: that some secrets are best kept locked away.
Written by Fred Gordon, Lowri Jenkins and Thomas McMullan
Crew includes Susanna Davies-Crook (director) and Vasiliki Giannoula (costume design)
Cast includes Kristina Epenetos, Nicky Ingram, Hayley Kasperczyk, George Kemp, Adam Loxley, Pablo Navarro-MacLochlainn, Tom Ross Williams and Seda Yildiz
- Read Daisy Bowie-Sell’s review for The Telegraph
- Read Steve Cramer’s review for The List
- Read Matt Trueman’s review for Culture Wars
- Read John Roberts’s review for The Public Reviews
- Read Richard O’Brien’s review for Broadway Baby