Following on from last year’s
A series of constant and ever-evolving motions help to give the piece a concrete sense of place - watching Davis craft a scene can make anything feel tangible.
The show’s biggest draw is Davis himself, with a strong control over comedic timing and physicality. Serving as both writer and performer, Davis is an engaging stage presence, creating entirely different characters through a slight shift in the angle of his head. And without even a set – a series of constant and ever-evolving motions help to give the piece a concrete sense of place. From the weightlessness of space, to the rush of falling from the skies, all of his actions help to craft the world around him. An imagination boat may sound like a ridiculous concept, but watching Davis craft a scene can make anything feel tangible.
This said, the show has script issues. Although there are moments that come close to being profound, they are drowned out by imagery that is regularly over-extended. This is most notable in a final speech that resembles a stream of consciousness. While initially the language is powerful, it soon stops being overwhelming, and just becomes mundane. Similarly, the use of audience participation is regularly jarring, tearing us away from the world that Davis is creating.
Bortle 8 is the very essence of a fringe show, daring to throw everything at the wall and see what sticks. While at times this means that the show can become a little too rough around the edges, it may well be a diamond in the rough.