Reviewed by Kate O'Sullivan
In Alexandria 2.0: Songs About Books, creators Steven McCall and David Richardson, supported by Sound AF and Fremantle Theatre Company, deliver a bold, immersive theatrical experience that fuses music, literature, and visual art. Held at Victoria Hall, the audience is encouraged to move freely throughout the venue, which is laid out in almost a traverse stage style, creating a unique dynamic between the work and the audience.
The show blends live music, recorded soundscapes, and carefully crafted lighting to evoke the essence of iconic literary works. The combination of colour, movement, projections and the musicians gave insight into the running themes of each literary work, ranging from Orwell to Feist, Dahl to Lovecraft. A standout moment came during the "On The Road" section, inspired by Jack Kerouac's novel, where swinging lights beautifully captured the sensation of a night-time drive, immersing the audience in the rhythmic pulse of the open road.
One notable technical hitch—inevitable in a production so reliant on complex audio-visual elements—was swiftly covered by an impressive improvised jam from the band. Their quick thinking and seamless improvisation kept the energy high while the computer system was reset, a testament to the professionalism and skill of the entire team.
The sound design, however, presented some challenges. The balance between the live music and the pre-recorded voiceovers (delivered by Kat Shaw and Renato Fabretti) wasn’t always ideal, with the music occasionally overpowering the spoken word. The singular direction of the sound, particularly for those seated at the sides of the hall, was also mildly disorienting. Additionally, while the lighting and projections were generally effective and well chosen, the projections themselves were difficult to see from certain vantage points due to their off-centre positioning on the back wall.
Thematically, the show left some audience members divided. While marketed as Songs About Books, many of the pieces felt more like musical meditations on the themes of the literary works rather than direct interpretations. This distinction may have led to some confusion for those expecting a more literal musical adaptation of specific books. Nonetheless, the artistic vision remained compelling and thought-provoking, even if it diverged from certain audience expectations.
A final note: anyone with sensory sensitivities should be aware that the production makes extensive use of smoke machines and occasional flashing lights, which could be overwhelming for some viewers.
Despite minor sound and technical issues, Alexandria 2.0 is an ambitious, multi-sensory production that offers a fascinating exploration of literature through a highly creative and avant-garde lens.
Reviewer Note: Tickets for this review were provided by the theatre company. Please note that the seating in the image above is arranged differently to how it was the night the reviewer attended.
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