Review: Trinity, The Asylum Peckham

Ovalhouse and BraveNewWorlds’ Trinity describes itself as a design-led performance and it does feel more art installation than conventional theatre. And like much of modern art, it benefits from explanation by its creators, captions explaining and connecting the artistic vision behind what might otherwise seem vague and untethered. 

So in their words, Trinity “explores the aesthetics of gender and female iconography in society’s visual culture, from pagan and religious artefacts to pop culture’s bedroom selfies”. |In mine, it exploits the visual representation of female roles to stunning effect but decreasing returns, as it offers little more that is tangible.

Created by Valentina Ceschi, Guoda Jaruseviciute, and Kate Lane, who also perform the piece, it it undoubtedly deeply felt and there are moments of real beauty and emotion. But there’s also bafflement and frustration in there as you try to dig beneath the visual aesthetic to find…well, nothing there that you can take away yourself.

Staged in the derelict remains of a gothic chapel in Peckham, the location also adds to this. It is a hugely atmospheric space but one hardly suited to the purpose at hand, the piece often feeling marooned in its fog of dry ice, what specificities there are swallowed up by unforgiving sightlines. 

But still, but still, it lingers long in the mind with all its offbeat inventiveness. It is so effectively visual and Demetrio Castellucci’s ritualistic electronic score is haunting indeed – a real curiosity which you should probably make up your own mind about.

Running time: 50 minutes (without interval)
Booking until 27th June





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