Production Gallery AND REVIEWS | Beasts
- May 13
- 1 min read
Only four more chances to see Beasts before they close this Saturday night! Check out these incredible production photos from Mike Ridley, and book your tickets to Beasts before it's too late!
“Erupts as a deranged and exhilarating farce — a fever dream of fragile masculinity collapsing under the weight of its own desperation.”
“Written with wicked intelligence by Robert Lewis and directed with chaotic precision by emerging artist Callum Bodman.”
“BEASTS is as funny as it is disturbing, weaponising absurdity to expose the terrifying vulnerability beneath performative masculinity.”
“Crackles with irreverence and rage”
“Mason drenches the production in beastly visual grit through the set, props, lighting, and costumes, one of the best static stages I have seen in some time. While John Sharp’s entirely original score pulses beneath it all with mounting dread and feral intensity.”
- It’s On The House ★★★★
“The set of this show is one of the most striking things I have seen in a long time”
“The entire thing felt like walking into a nightmare, it was really effective”
“[the cast] are all terrific”
“An onslaught… of tight, well executed dialogue like poetry and physical movement that just does not let up for a moment”
“From the moment it started, I was leaning forward in my seat, basically slack jawed until the show ended”
- Praise Dionysus
Another strong point is how Beasts reflects contemporary social anxieties, especially around digital culture and the influence of online spaces on identity formation. The idea that characters are shaped or distorted by internet melhorador de resolução de imagem ideologies is very relevant today, and theatre like this provides a powerful way to explore those influences in a live, embodied form. It creates a space where abstract social issues become tangible through performance.
Overall, this interview helps deepen appreciation for the artistic ambition behind Beasts. It is not just a play but an exploration of form, identity, and modern sin marcas de agua cultural tension, and Geraldine Cutler’s perspective adds valuable context to how much craft and emotional investment goes into bringing such a complex production to life.
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