Jude Christian offers up something excitingly experimental with the German play Trust at the Gate Theatre in West London
“I have to keep being original here and that’s really hard work
I CAN’T BE FUNNY AND ORIGINAL ALL THE TIME”
Between the Mandarin lessons and the sleep masks, the tequila shots and extended yoga, there’s an awful lot going on in Trust. A hell of a lot. But given that the last time Jude Christian directed a show here at the Gate she put two actual piglets onstage, it should come as little surprise that she’s challenging us once again. Plus the play’s German, so of course it’s batshit.
From the minute you walk into the Gate, having been handed your guide to the art installation and gingerly stepping over the Roomba that’s beavering away, we know we’re not in Kansas any more. Or Notting Hill. Or anywhere the likes of Billers or DomCav will consider safe. And over the next 100 minutes, Christian experiments with this theatrical space in breathtaking ways, performing in the play as well as a kind of guide on its bewildering path. Continue reading “Review: Trust, Gate”