Review: MESSAGE IN A BOTTLE, Peacock Theatre

If using the relaxing music of dinner party favourite Sting as the basis for a wild and inventive hip hop dance show isn’t an act of iconoclastic bravado, then what is?

Message In A Bottle debuted just before the pandemic and has since proven to be one of most Popular Productions from Sadler’s Wells associate artist Kate Prince and her Zoonation company. It returns this month to the Peacock Theatre riding high on the news that it will be (in partnership with the Royal Opera House) the first Sadler’s Wells production to be filmed for cinema.

The plot is sadly a perennial one: Bebko, a young and stunningly attractive community, is torn asunder by war and the three siblings Leto, Mati and Tana set out on their separate refugee journeys. Along the way, they face imprisonment and persecution before finally settling into a foreign land.

This is an eyeball-blistering bulldozer of a show with the passionate attitudes of the large cast and the creative skills of Prince and her team of assistant choreographers (Lukas McFarlane, Tommy Franzen and Lizzie Gough) propelling this extravaganza to great heights. Despite the almost horizontal vibe of the artist formerly known as Gordon Sumner, this is an upbeat and upfront show that never shies away from its discomforting story.

Even with the nod-along factor associated with a world-class discography, using the back catalogue of well known troubadours to power a display of modern choreography is not a sure-fire way to success. Dance Me, for example, wore its Leonard Cohen soundtrack loosely with only a few sections thematically relating to the maestro’s lyrics. Message In A Bottle, on the other hand, works hard to dig into and expand the premise of each song.

Sting’s music (both during his time with The Police and his solo work) is cleverly arranged by Alex Laciamore and often stands in where voiceovers or projected text would be used elsewhere. Soulful numbers like “Fields Of Gold” are majestically turned into wistful meditations accompanied by aching beautiful movements. Some of the songs are used more literally -  prisoners creep around an internment camp under the watchful eyes of guards to “Every Breath You Take” while “Invisible Sun” (written about the Troubles in Ireland) speaks directly to the political and emotional conflicts we see.

Ben Stones’ stage design is fluid and solid, setting the scenes with firm conviction as we watch these young outcasts flee their homeland and overcome obstacles thrown up the dregs of humanity and unforgiving nature. The lighting from Natasha Chivers adds layer upon layer of empathy and engagement, pulling us into the most difficult scenes and holding our attention throughout. 

Ultimately, though, this is a dance show and so succeeds or fails on the choreography. Seeing women being physically abused by invading soldiers or watching people fleeing for their lives is never going to be an easy watch or (thankfully) personally relatable for many of those who will see this.

Prince’s Into The Hoods - another hip hop hit from Sadler’s Wells - influences the sharp, expansive style which is used here to stunning effect, creatively translating the painful paths taken by the siblings into a stark reality we can buy into. Sometimes brutal, sometimes languid, this is a show that is replete with snap, crackle and (thanks to Sting) pop.

Message In A Bottle continues at Sadler’s Wells until 14 October before continuing on tour.

Photo credit for main image: Lynn Theisen

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