Devised by Alice Connolly and facilitated by Eve Connolly, Drawing From Life sees Alice Connolly posing as the life model, while the audience is provided with drawing materials to sketch her various poses. As the class progresses, things begin to unravel—we begin to hear the inner thoughts of both the audience members and Alice herself. Slowly, the intense focus required to draw begins to waver, as we start to humanise our otherwise silent model.
Audience members are handed stuffed dolls, which are later retrieved and manipulated by Eve, who bends and contorts them into different shapes. Alice mirrors these movements, seemingly controlled, as if under the influence of a voodoo doll. This element of the performance was both engaging and intriguing, showcasing the Connollys’ strong dramaturgical instincts. Slam poetry, movement, and various technical elements are seamlessly woven together to transmit a powerful message.
The use of sound was particularly clever and well executed. Directional sound was used to emulate the idea that voices were coming from different individuals scattered throughout the room. I was so immersed in my drawing that when the voices suddenly played through the speakers—one of which was right next to me—I physically jumped. The sound design was so effective, it truly felt as though the voices were originating from within the space itself.
Perhaps the most impactful moment of the show came at the end. Some of the audience’s drawings were taken—some cut into pieces, others stitched together. Thread was used to physically connect us to the model. To me, this symbolised the overarching theme of connection—the questioning of boundaries between ourselves and the performer, and the vulnerability required to be both observer and observed for a full hour.
In a striking finale, Alice cut off her costume, fully exposing herself, and invited the audience to do the same and join her on stage. At first, only Eve joined her, but gradually, more audience members followed—bravely removing their tops and stepping into the shared spotlight. The sense of freedom and solidarity that this provoked was powerful. I think we all felt amazed and proud of those who dared to take part. It spoke volumes about the emotional and performative strength of the Connollys’ work.
Personally, I found myself so focused on my drawing that I realised I had missed some of the more dramaturgical elements of the piece. However, I believe the structure of the show allows each audience member to have their own unique experience and takeaway. This was unlike anything I’ve ever encountered before—a highly elevated piece of theatre that explored interactivity, vulnerability, and the tension between observer and subject.
Many thought-provoking themes were touched on in such a short time. For me, the most compelling was the subjectivity of the experience. As the show’s description asks: “Will you draw the nude body in front of you? Or will you draw from the life that has been stitched and stuffed inside the nude body?”Drawing From Life has finished its run at the Edinburgh Fringe at the studio at theSpaceTriplex as of the 9th of August. For more information see https://www.thespaceuk.com/shows/2025/ and https://www.instagram.com/drawing_from_life_/
Reviewer: Jessie Martin
Reviewed: 9th August 2025
North West End UK Rating:
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