An Ambitious but Confusing Climate Allegory
An experimental new musical tackling climate disaster has opened at London's New Diorama theatre, presenting audiences with a baffling dystopian vision. Precipice, running until 13 December, attempts to weave together two storylines centuries apart but struggles to create a coherent narrative.
A Flooded London and Biomedical Waste
The production takes place in a tower block overlooking the Thames, with the river's central role in the dystopia being key to the plot. The fictional catastrophe has been caused by a biomedical waste dump in the river, leaving London flooded. The 16th-floor flat serves as what appears to be the safest living space in this devastated environment.
Director Adam Lenson leads the creative team that devised this production, collaborating with Stu Barter, Rachel Bellman, Annabelle Lee Revak, Darren Clark and Shaye Poulton Richards. They bring an electro-folk sound to the production, though the multiple storylines feel fragmented rather than fully developed.
Dual Timelines and Underdeveloped Characters
The musical presents two distinct timelines that only become clearly separated late in the performance. One follows survivors in the tower block, eventually revealed to be living in the year 2425. The other storyline appears to be set in what might be the 1990s, given references to DVDs, and features a couple moving into a luxury high-rise with Thames views - possibly the same 16th-floor flat.
This historical couple consists of Ash, played by Eric Stroud as a scientist, and Emily, portrayed by Holly Freeman as a civil servant. Both characters are conveniently connected to the coming climate disaster, though their short scenes feel like filler material between musical numbers rather than substantial narrative development.
Musical Elements That Fail to Captivate
The production features meditative-paced music that grounds the story rather than driving it forward, particularly as the central couple's relationship begins to deteriorate. While some instrumental arrangements show promise with their combination of synth, guitar, cello and harmonica, the songs themselves lack infectious quality.
Lyrics prove cumbersome, attempting emotional depth but often sounding waffly and pedestrian. The musical includes numbers about diverse subjects including:
- A game of Monopoly
- A mudlarker that seems disconnected from the main narrative
- The rise of anti-microbial resistance
Unclear Worldbuilding and Low Stakes
Despite promising elements, the various strands of the production fail to engage or progress sufficiently. The dystopian worldbuilding feels haphazard, with references to The Balance and its founder Robin Blake left unexplained. A deadly Tombola reminiscent of The Hunger Games results in one resident's eviction, but without sufficient detail about the dangers beyond the tower block, the stakes remain frustratingly low.
When a character called Biscuits, played by Max Alexander-Taylor, draws the short straw, the impact is neutered by our limited understanding of his backstory or fears. Flashbacks lack significance, and crucial facts - such as the establishment of martial law in 2034 - are revealed too late to provide meaningful context.
The creative team's endeavour to break new ground in musical theatre is evident throughout Precipice, but their ambitious attempt at reconception ultimately overwhelms the drama. The production continues at New Diorama, London until 13 December.
