Immersive Hotel Drama 'I Do' Returns to London with Wedding Day Realism
Ten minutes before the ceremony begins, the emotional whirlwind of a wedding day unfolds in I Do, the utterly gorgeous site-specific show by theatre company Dante or Die. Currently reprised at the Malmaison hotel in London as part of the Barbican's Scene Change season, this immersive production first debuted in 2013 and has since toured various Malmaison locations. Created by Daphna Attias and Terry O'Donovan, the play masterfully captures the final moments before bride Georgie, portrayed by Carla Langley, and groom Tunde, played by Dauda Ladejobi, tie the knot.
An Exercise in Voyeuristic Theatre
Audiences are divided into groups and shuttled between six different rooms in the hotel, each visited in a unique order. This structure initially feels like a carefully coordinated, albeit funny and fascinating, exercise in voyeurism. The familiar wedding day tropes are all present: spirited bridesmaids dancing on a bed, surreptitious romantic encounters, and the classic "call it all off" nerves plaguing both the bride and groom. However, the production quickly transcends these clichés, becoming increasingly moving as it intimately reveals the underlying anguish and insecurity of the characters. What starts as a snapshot of pre-wedding chaos gradually expands into a richly detailed world of human emotion.
Capturing the Spectrum of Love
Each room presents a new scenario, showcasing various forms of love and conflict. In one poignant scene, Georgie's mother, Helen, played by Johanne Murdock, has a devastating encounter with her unfaithful ex-husband, David, portrayed by Jonathan McGuinness, revealing moments of regretful tenderness. Another room features same-sex passion involving the fabulously antsy best man Joe, brought to life by Manish Gandhi. Perhaps the most painful scenario involves Georgie's grandparents, Gordon and Eileen, played by Geof Atwell and Fiona Watson. Eileen dresses Gordon, who is in a wheelchair, unable to speak or move, likely due to a stroke. Writer Chloë Moss captures their frayed love and red-faced frustration with remarkable economy, especially when Helen enters to find her father half-dressed, whispering "I miss you" to herself as he looks on with desperation.
Impeccable Design and Direction
The set design by Jenny Hayton perfectly replicates the corporate kitsch of a hotel-wrapped wedding package world, complete with rose petals scattered on beds and towels crafted into love hearts. This is juxtaposed with the personal detritus of the characters, such as TCP in the bathroom, a table plan in Helen's bedroom, and champagne bottles in the bride's suite. Under the immaculate direction of Daphna Attias, the performances are searing and allow for moments of stillness where emotions evolve through subtle looks, touches, and tiny shifts in expression. The story gathers shape gradually, sequenced so that audiences can piece together the intrigues at their own pace.
A Surreal and Heart-Wrenching Experience
A corny yet charming element is introduced by a cleaner who enters rooms and moves through corridors in a backward motion, as if rewinding the drama, adding a surreal touch to the production. By the end, audiences find themselves caring deeply for almost every character. I Do is as big, heart-wrenching, ridiculous, and wonderful as any real wedding day. The show runs at the Malmaison hotel in London until 8 February before continuing its tour, offering a unique and emotionally resonant theatrical experience.
