Toto Kerblammo! – Unicorn Theatre

Isolation in community, courage in adversity, the bravery it takes to feel – to love. Toto Kerblammo! is a tale from a furry friend which is deeply, tenderly human.

Effy, played by Peyvand Sadeghian, is struck with tragedy. Sent to live with her aunt and uncle as her mother recovers from a nervous breakdown, in a flat block which doesn’t allow dogs. Little do her aunt and uncle know, however, that the ‘no-pets-allowed’ rules haven’t been followed.

Using 3D binaural audio technology, the audience wear headphones to experience Effy’s world. Felipe Pacheco as Effy’s beloved dog Toto not only takes the stage but narrates Effy’s story through the headset directly into your ears, ASMR-like at times, demanding that to appreciate it all you must “really listen”.

Audio performances from Madeline Appiah as Effy’s Aunt, Nick Holder as Effy’s Uncle and Sinead Matthews as Effy’s Mother further embellish the heartfelt, sensory storytelling and, as the tale unfurls and we are guided through the complex and testing emotions Effy is facing and the lengths Toto will go to save her.

Toto Kerblammo! can only be described as magnificent. The use of headphones is vital, not only as an immersive performance which pushes the theatrical boundaries of sensory experience within the theatre, but as a play which demands, to savour each emotional strand of the story, focus and care. Empathy runs deep through the heart of this production.

Helen Skiera’s sound design is masterful, guiding the audience through Toto’s philosophies and transforming a stage from wet roads to swimming pool, instantaneously. This is all the more impressive when you see the stage. Designed by Lily Arnold, the playing area is simple: a big furry white rug. Sensory, soft and safe – this is Toto’s mind and a cleverly chosen comfort-blanket for an all too real story.

Madeline Appiah, voicing Effy’s Aunt, is a demanding and cleverly complicated not-on-stage presence. Nick Holder, Effy’s Uncle, brings necessary nuance to a nearly-paternal figure. And Sinead Matthews as Effy’s Mother is heartbreaking and complex, a totally alive character who we meet only through phone-calls.

But the truly breathtaking performances come from the two bodies on stage. Sadeghian is magnetic as Effy. Often heartbreaking, and often affirming, her empathetic portrayal of Effy as an imperfect young girl is filled with the love is needs. Stood, nervous but defiant, with her best friend clutched in her arms (albeit, in the clever disguise of a cardboard box), Sadeghian’s Effy is fantastically brave and complicated.

Taking on two roles, Effy’s neighbour Noah and beloved dog Toto, it is Pacheco’s infectious charm on stage which drives the heart of the piece. Funny, thought-provoking and – in Toto’s own words – “surprisingly wise” – Toto is a better guide in Effy’s life than any adult ever could be. Because, for Effy, their relationship is one of trust. An opportunity to extend that trust wider, Pacheco’s Noah – the friendly neighbour – is sweetly naïve then movingly steadfast. Here Effy gains two loyal companions to look after her with love.

Between Sadeghian and Pacheco there are many stand-out moments in their adventure – play-fighting, swimming pools, hospitals and fireworks – a combination of beautiful writing and imaginative direction. What grounds them all is the nuance of the performances, which makes the story of a talking dog decidedly real.

The concept is clever and the execution brilliant, but the true genius of this play is its heart. Tim Crouch affords his characters the space to be genuinely intelligent, complex and tender. It is affirming to see – to hear – and is the driving argument for the love and care this play demands we show to ourselves. We are all struggling, we are all complicated, and yet we are all worthy. Messaging which is vital for adults and children alike.

Like a rallying cry of empathy, Toto Kerblammo! shows, tells, speaks to its audience of the importance of empathy and community in an increasingly isolated world. And, as Toto reminds us, this is a play which demands its audience listens.

Running from Sunday 6th October – Sunday 3rd November 2024 at The Unicorn Theatre – https://www.unicorntheatre.com/events/toto

Reviewer: Sadie Pearson

Reviewed: 16th October 2024

North West End UK Rating: