Skip to main content Skip to footer site map

Review: OPHELIA REWOUND, Camden People's Theatre

Review: OPHELIA REWOUND, Camden People's Theatre Review: OPHELIA REWOUND, Camden People's Theatre

Performer Antigoni Spanou wades through depression and eating disorders exploring the character of Ophelia and puts her own lived experiences next to the character's in an interactive piece titled Ophelia Rewound. Sharp and decisive lighting opens the highly personal journey and sets the tone for what's set to be an extremely visual and instinctive experiment.

She introduces instances that resemble performance art, where silences envelop her movements to tell a a tale of despair and disillusionment, and includes poetry. "Sorry, I'm not used to having guests" she repeats throughout when her role's limited social skills fail to fulfil her intentions.

Projections also accompany the narration as she opens up and hands over tidbits of her issues. The audience learn how she's never had a friend and has been abused by the men she loved all her life. Water is a constant presence both in real and projected form, hinting at Ophelia's fate and her affiliation with it.

The cathartic and stirring ending makes up for the slight discomfort that permeates the interactions with the audience. While the run-through of the production mentions that the crowd will be part of the story but due to the exceptionally intimate nature of the material, it's difficult to control the outcome of these exchanges and it feels like there's little to no safeguarding of the public.

She does, however, brilliantly break the barrier between actor and onlookers, blurring the line between reality and character. The show is vivid in its imagery and touching in its landing. The levels of personal involvement slightly preclude a broader provocation but Spanou presents the typical stereotypes and plateaus of living with fragile mental health in heartbreaking form.

Ophelia Rewound runs at Camden People's Theatre until 25 August as part of Camden Fringe.

TodayTix Extension


From This Author - Cindy Marcolina

Italian export. Member of the Critics' Circle (Drama). Also a script reader and huge supporter of new work. Twitter: @Cindy_Marcolina

... (read more about this author)

Review: JOHN GABRIEL BORKMAN, Bridge TheatreReview: JOHN GABRIEL BORKMAN, Bridge Theatre
October 1, 2022

Simon Russell Beale takes on the disgraced mogul, Nicholas Hytner directs. Anna Fleischle designs the show. It’s a winning team, but the piece leaves the audience as cold as a Norwegian winter.

Review: THE CRUCIBLE, National TheatreReview: THE CRUCIBLE, National Theatre
September 29, 2022

In a society riddled with fake news, that bends over backwards to regulate a woman's body, justifying its laws with a magical book, The Crucible is frighteningly relevant.

Review: GHOSTS ON A WIRE, Union TheatreReview: GHOSTS ON A WIRE, Union Theatre
September 27, 2022

Commissioned by Southwark Council, Linda Wilkinson writes a historically accurate account laden with fiction to explore the strings attached to progress. Author Mary Shelley and human rights activist Octavia Hill coexist in this tonally odd piece, playing ghosts in each other’s lives.

Review: AUDRA MCDONALD IN CONCERT, The London PalladiumReview: AUDRA MCDONALD IN CONCERT, The London Palladium
September 26, 2022

Audra McDonald’s name sits right at the centre of the Broadway firmament. A record-breaking performer among the queens of musicals, her cup of talent certainly runneth over.

Review: ADDICTIVE BEAT, Dilston Gallery (Southwark Park Galleries)Review: ADDICTIVE BEAT, Dilston Gallery (Southwark Park Galleries)
September 24, 2022

Addictive Beats is a missed opportunity to attract a younger generation to explore mental health. Sure, the music is crazy cool and the show promises a great vibe, but, as it is, it’s a production that only scrapes the top of its themes but saved a lot of money on seat rental.