Calling The Burnt City a theatre experience is really an undersell, it feels more like being inside a living dream. Wearing masks you descend into a fully fleshed-out world, where you can watch performers, explore entire cities and get lost in the adventure.
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The cast is outstanding, executing Doyle’s innovative, visceral choreography with precision and style. The Burnt City stands apart in terms of its ambition and beauty. Its intoxicating, clever storytelling.
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The show is rich and strange and drenched in Easter egg references to Greek mythology. I think it’s an extraordinarily beautifully wrought tribute to the savage, doomy mysticism of Greek mythology.
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[It] has some good ideas, but lacks the surprise of their greatest work. For every ‘through the wardrobe’ moment of wonder I experienced there were times when I felt as if I was banging my head against a brick wall. The huge redeeming feature lay in the closing sections.
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[It] is magnificently staged. Co-director Maxine Doyle's choreography is, throughout, utterly transporting. It was beautiful and memorable, but I longed for more to help me make sense of it.
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I slightly resent the way immersive theatre relies on FOMO ... [but] I was overawed by the rich, vivid, momentous achievement of Barratt, Doyle and their cast and cohorts here. Simply astonishing.
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The narrative is so flimsy and opaque that you could just as easily convince yourself that you’ve wandered into an avant-garde version of Cabaret. In the gloom, it’s hard to make out much detail. Thereafter you fumble your way through.
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The set ... has an intimate filmic beauty. The Burnt City is an epic set-up without enough epic storytelling. So it is frustrating that they do not build more of it into the production. That said, those who are satisfied with spectacle above story will enjoy this meticulously crafted show.
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