Shutterland questions: ‘What if one’s life was monitored and watched to the degree that all your actions and choices were imposed and devoid of free will?’ Through the everyman character of Lublin, played by Christopher Harrison, this question is explored through playful physicality and creative simplicity. Like the light peeping through the shutters of a window, the audience are introduced to the dark world of Shutterland. Three figures wearing gas masks and navy trench coats enter the space flashing torch lights, casting shadows across the wall. This shadowy aesthetic is something which remains throughout the piece, with clever torch work being utilised to create different locations that are both familiar and unfamiliar. The gas masks were used as a dramatic convention throughout the performance and seemed to embody Shutterland itself, carrying the narrative forward. The gas masks were taken on and off during the piece, allowing the actors to multi-role in a highly physical style.
The Lecoq-trained actors had superb physicality. Exaggerated movements extended right from the fingertips to the eyebrows, and matched the electric pace of their absurd comedy style. One particularly effective movement sequence was when directions were being given to Lublin, which involved rapid hand movements and precise timing to describe a ‘very long corridor’. The movement sections which ran throughout the performance were slick in themselves, but there was a couple of awkward transitions where the actors did not seem to be quite on the ‘b’ of the bang! If possible, perhaps even more energy could be injected into this already fast-paced piece.
Perspectives were disrupted throughout the performance, extending the visual planes of the small venue to open up the world of Shutterland. Brilliant ‘back’ acting was seen by Sean Jones during a voice over speech, whilst Harrison’s anxious stare upwards allowed the scene to be imagined from a variety of different angles. It was innovative moments like this that kept the performance engaging and surprising.
Shutterland is a dystopian vision that should be seen, perhaps not in real life, but certainly for the exciting hour Rhum and Clay have to offer.
