You wouldn’t think that numerical weather forecasting, and in particular a single weather system that passed across England nearly 25 years ago, would make for particularly interesting theatre. In fact, I can think of almost innumerable ways in which such a topic could be a complete failure. But against all the odds, Idle Motion have used this concept to create one of the finest pieces of physical theatre that I have ever seen.That’s a big claim I know, and you really have to be there, to see it, to understand. I will do my best to describe it.The hurricane that swept across England on 15th October 1987 is used as the starting point for a part lecture in weather forecasting, part thought experiment in chaos theory, and part philosophical musing on the nature of the human condition. It’s not intellectual; the show couldn’t be more human, more accessible. Every person can find some part of themselves or their emotions reflected in the expressions and motions of the six young people on stage. The set is beautiful, simple, and ethereal, yet it conceals a vast and complicated collection of props, all of which were used to the greatest effect. Umbrellas, leaves, seeds, paper, tables, chairs, beds, sheets, blankets, puppets, plastic sheeting – anything you could possibly ask of a frantic, windy hour. All of those physical theatre devices you’ve seen elsewhere that seemed somehow naff are realised in their full and impeccably executed glory in The Seagull Effect. Combining clever choreography with a spectacular multimedia experience, this production is truly a feast for the eyes.If you see one thing at the Fringe that you’ve never previously heard of, see this. You’ll never look at physical theatre in the same way again.
