Gecko’s reimagining of their devised physical theatre piece The Wedding, following its initial development in 2017 and presented in a short run at the new Sadler’s Wells East, introduces a strikingly familiar dystopian world.
It is one where you are either born to be a bride, adorned in white and automatically committed to society, or a castoff, desperate for a way in.
For better, for worse, for richer, for poorer
However, this ‘wedding’ does not involve a typical marriage. Thrust into the world in their undergarments through a tunnel slide, with nothing but wonder and a teddy bear, characters are born into commitment. Metaphorical babies are greeted kindly and fitted into wedding dresses, given their contracts to sign, and celebrated with flourishes of confetti. They quickly join a wider society of corporate workers, changing into their own ties, suits, and briefcases.
Director Amit Lahav depicts a privileged upper-class shortcut to a wealthy corporate lifestyle. Imprisoned under the illusion of choice, these figures are trapped in a working cycle devoid of true romance, purpose, or community. Only a few manage to break free, desperately attempting to climb back up the tunnel from which they emerged.
Triumphant trademark
The use of multiple languages does more than signal a recurring Gecko aesthetic; it is pivotal to the work’s thematic clarity.
However, this ‘wedding’ does not involve a typical marriage. Thrust into the world in their undergarments through a tunnel slide, with nothing but wonder and a teddy bear, characters are born into commitment.
This is particularly evident in the parallel journeys of Spanish-speaking Pacho (Miguel Torres Umba), who attempts to access this so-called utopian society from a background of poverty and street performance, and Robin (Ryen Perkins-Gangnes), who is delivered directly into a wedding dress and the heart of the system.
Freed at what cost?
Production elements by set and costume designer Rhys Jarman function as more than just decorative items; they operate almost independently, akin to puppetry, enriching the physical storytelling. Beyond the overt symbolism of a sunflower representing hope and a teddy bear signifying innocence, phones, ties, and lights are animated by cast members and integrated rhythmically into the choreography.
The final spotlighted image of a newly freed community rejoicing from chairs adorned with lamps directly mirrors their first appearance. Initially, these set pieces conceal the dressed brides, separated and veiled across the back of the stage. By the end, they stand veil-less, downstage, and together. Moving away from authoritative, state-led living has stripped the set and the people of their frivolities, but has brought them closer to the light of a truthful and equal community.
Married to the state
Costume design further reinforces the illusion of privilege, where niceties serve to muffle inequality and entrapment. When Pacho finally receives his own wedding dress, he does so shirtless and exposed, lacking the pristine white undergarments afforded to those born into the system.
As he progresses into a working suit, capitalism’s false promise of equality is laid bare. He has no shoes, no shirt, and no jacket—only partial dressing that offers the mere semblance of acceptance. When he is later handed a balaclava and beaten, the society’s cruelty becomes explicit.
Having encouraged his aspirations and offered fragments of hope, they dress him as a danger despite his continuous compliance. The illusion of success through merit ultimately fails him, as a striving family man is reduced to a racist stereotype.
Excellent ensemble
Gecko has positioned itself as a leading contemporary physical theatre company. Through its community work, educational inspiration in student theatre, and pristine performances, it will no doubt continue to connect with wider European audiences.
Nearly a decade after its conception, the work remains urgent and affecting, connecting audiences through movement while transcending culture, language, and expectation.
The ensemble gives an outstanding performance, bolstered by Joe Hornsby’s detailed lighting and Dave Price’s original score. This cinematically captivating piece balances physical sequences with moments of humour and release, building to a well-paced and emotionally resonant climax.
Nearly a decade after its conception, the work remains urgent and affecting, connecting audiences through movement while transcending culture, language, and expectation.
All images: GECKO The Wedding Photos by Rocio Chacon
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