Salty Brine commands the stage, audience, and their own artistic decisions with arousing authority as they transform the Soho Theatre into a Frankensteined* world of multiple realities.
*The concept of ripping things apart and reassembling them incoherently until they produce something new entirely. This definition comes from, and summarises, the show itself.
The first of these elements was The Queen is Dead (which she is, as we are reminded from the offset), an album by The Smiths. We work our way through these songs with a classy and eclectic band compromised of vocals and piano. Musical direction came from Ben Moss, who's smirk throughout the show was possibly the best thing for your eyes to stumble upon in the (very rare) moment Salty took a quick sip of champagne. Full Umbrella Academy style violin came from Will Clark, who was just mesmerising; Migdalia Van Der Hoven, who kept us all on track the drums; and Jess Martin completed the set as a multi-instrumental bassist.
During this time, we were also gifted stories from Salty's own life, all the way from prepubescence up to their current title: The Downtown Darling of Brooklyn. These anecdotes are not only seamlessly integrated into the music, but also into the story that is unfolding alongside it - Mary Shelley's 'Frankenstein'.
It feels like we are being read the book from start to finish. With a cast of only one (or two if you count the randomly appointed audience member selected to play Elizabeth), this is an incredible feat to achieve as it is a very complex plot with a number of different characters. Christopher Bowser's production design and Kate Fry's costuming are both very well suited for both the space, and the performers it is housing, as they add a fantastical feel without detracting from the live art taking place.
Director Shaun Peknic has done a wonderful job of linking these three sections together in a gorgeous web that is cynical, camp, and outrageously clever in equal measures. And with ticket prices so cheap (I have definitely paid double for shows half as entertaining), you definitely cannot afford to miss this one! Running only until 16th September.
Access
As these were press tickets, I did not personally experience the booking process for the show. However, I do know that the theatre offers a range of access provisions such as:
A free ticket for essential companions.
A range of contact methods.
Assisted performances
Detailed access information on their easy to navigate website.
The seating was unreserved however the staff here were, as always, incredibly accommodating and managed to meet all my needs in one space (which is magical in itself), including close proximity to the door for when I needed to use their considerate readmittance policy. See my disability focused review of the venue itself on @eaunsguide here.
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AD | gifted tickets in return for an honest review | written by Katie | photography by Harry Elletson