A dozen or so of us were led to the roof of the Royal Festival Hall where we were told to expect: ‘A multi-sensory encounter of shifting sound, colour and light, which reinvents the gig-going experience as a site-responsive close-up standing performance.’ Whatever that is.
An intimate audience of ten each hear the recorded monologue of an individual martyr who died fighting against Asad’s forces, but they have to experience some discomfort in the process. Gardens Speak lasts a mere 30 minutes but irrevocably alters the detached western view of Middle Eastern conflict, fostering empathy and despair for fellow man.
Invisible Treasure has no script and no actors. It’s not a play, but a playspace. For this hour long part-video game, part-puzzle, the audience/participants must work together to interpret the cryptic tasks that pop up on a small screen in the sterile room where they are deposited by theatre staff. The sensors, cameras and microphones that monitor the group at all times determine whether or not you progress to the next level or not, and the chance of failure is very real indeed.