Review: BARELY METHODICAL TROUPE - KIN, Peacock Theatre

As a part of the 2022 London International Mime Festival, the Barely Methodical Troupe presents KIN at the Peacock Theatre until 29 January. Since this is a limited run, put down your phone, tablet or any other device right now. Get on the phone or the internet, and beg, borrow or steal a ticket for one of the few remaining shows of this masterful evening in the theatre.

Broadway and West End producers would be well advised to be the first in line to get tickets. Bucking the trend of over-produced, glittering shells of shows that cost millions to produce and that populate (and often litter) the theatrical landscape, Barely Methodical's director, Ben Duke, together with six brilliantly talented performers, and a crack technical team (Seth Rook Williams, Laura Sprake and Frances Morris) have created magic with almost nothing. A nearly empty stage, a few props and costumes, coupled with an ingenious lighting and sound design, turn the Peacock Theatre into the arena for one of the most breathtaking theatrical events that this reviewer has ever seen.

KIN is a master class of what live theatre can be. Technical wizardry should be in the service of genuine talent, not a replacement for it. Duke should be commended for doing something that has become almost unimaginable in today's theatrical landscape: he has relied completely on the extraordinary ability, charm, stage presence and skill of his amazing cast, Jean-Daniel Broussé, Luke Chadwick-Jones, Louis Gift, Ronan Jenkinson, Nikki Rummer, and Fiona Thornhill.

KIN's "plot" could be described as a very clever mix of A Chorus Line and Waiting for Godot crossed with Cirque du Soleil minus the kitsch. Five performers audition for a role in an unknown project while waiting for an unseen man to arrive. However, that description doesn't do justice to the cleverly woven tapestry of ideas bubbling just under the surface of this performance.

In addition to the extraordinary comedic and acrobatic skills presented, there are gender and sexual politics on display, including a subtle exploration of both domination and subjugation. At one point, an onstage "pilgrimage" takes centre stage adding death-defying acrobatic skill to religious imagery. It's an unexpectedly moving moment in an evening more dominated by comedy.

An eclectic mix of songs accompanies the performers during their theatrical journey. Whether Edith Piaf, Blues classics or Gregorian chants, every song is perfectly chosen to heighten the emotional effect of each scene.

The performance is a brisk 60 minutes with no interval. From beginning to end, a spectacular evening that leaves the audience wanting more. Bravo!

KIN runs at the Peacock Theatre until 29 January

Photo credit: Tristram Kenton

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