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Handlight Productions' “Destructive Nature” is an immersive retelling of the Greek myth of Narcissus, brought to life by a talented ensemble of storytellers. This contemporary performance art commits to activating space, effectively engaging with the core intent of Anywhere Theatre Festival.

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Image from @__handlight on Instagram

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Upon arrival, the audience was greeted with chairs in the backyard of a house, under the stars and surrounded by the suburban West End ambiance. House Conspiracy provided the perfect setting for the performance, feeling intimate from the start, as sounds of nature or children scuffling in the house next door were incorporated into the atmosphere. The space was ignited through committed storytelling, as the performers engaged in physical theatre and exploration of space. These movement sequences, a blend of dance and theatre, loosely conveyed the Greek tale and effectively provoked symbolic patterns of self-obsession.

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I found the most intriguing sequence of the piece to be the experiments with monkeys, with the performers bearing the remnants of their exploration with grass and scenery on their bodies. The idea contrasted the clinical classification of narcissistic behaviour with the natural tendencies of animals and was expertly executed. The use of food as a reward added an interesting dimension to the story where witnessing the physical pleasure and indulgence was  both fascinating and confronting. While the themes were broad and open to audience interpretation, there was a palpable sense of obsession and its physical manifestations.

 

The standout aspect of “Destructive Nature” was undoubtedly the performers. Flavia Carrillo and Madeline Armit were entrancing—their connection with the space and each audience member felt meaningful and new. Carrillo's sheer desperation and urgency, in particular, was outstanding to witness. The actors captivated the audience using minimalistic techniques—relying on breath, movement, and the physicality of their bodies rather than complex lighting or dialogue. The plot took a backseat to the performers' skills and their interplay. I can’t forget to mention Daniel Giorgi for the evocative sound design. The score seamlessly supported the visual tapestry with meditative layers that elevated the backyard atmosphere.

 

Audience participation was integral to the experience, reinforcing the piece's experiential and avant-garde approach. We filled out questionnaires, moved to different parts of the space, and engaged our imaginations to find meaning in evocative sequences. I wish there were more people in the audience to experience this, though the piece seemed to prioritise intimate audience sizes. Experiments with projections and film worked for the production, although there were moments, particularly in the darkness beneath the house, where the use of technology could have been further explored. This may have given the piece a commentary of technology and social media as I felt this aspect of the piece was not fully realised. Some more cohesion and interconnection of the ideas across sequences might have enhanced the overall impact as a whole. Though, the experimental nature of the piece was thought-provoking and has left a lasting impact on myself as a viewer.

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"Destructive Nature" was a provocative experience that showcased emerging creatives taking risks with storytelling. I commend the whole team for their consideration of audience and space in performance-making—such value has created a highlight of Anywhere Theatre Festival. 

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Read more about Handlight Productions here. 

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See the Anywhere Theatre Festival Guide here. 

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