Where We Meet – The Cockpit

Where We Meet at the Cockpit, produced and presented by Unwired Dance Theatre, is an ambitious interactive and immersive dance theatre performance exploring the nuances of human connexion.

Warmly welcomed into a minimalist, darkened space by co-director and Creative Technology Lead Clemence Debaig, participants gather in the center while observers settle along the sides. With an unsettling air of modern anticipation reminiscent of Squid Game and Black Mirror, everyone is equipped with mysterious headsets and pouches. Shortly thereafter, clear instructions are given: these devices will react to the dancers’ proximity, granting telepathic insights into their inner monologues.

The dancers—Sara Auguieras, Ryan Naiken, and Livia Massarelli, choreographer and co-director—soon take the stage, each embodying a distinct character: a young woman grappling with self-image, a man ensnared by capitalist pressures, and a people-pleasing party girl. Coming off a long, hard day at work, I found myself naturally drawn to the man’s narrative; the people pleaser’s constant need for attention and the young woman’s self-hatred proved too demanding for my emotional bandwidth that evening.

While the subtle lighting artfully establishes the performance’s structure and voice overs provide an engaging definition of connection in shared spaces, its narrative curation feels a little too naked, too undercooked. So much space is handed to the participants that it leaves the creation of a complete immersive experience too largely to us for my taste.

Despite repeated invitations to join a judgment-free safe space and engage with others, the relentless exposure to each other’s inner insecurities—both of the characters and of the participants—only deepened my sense of alienation. Although the concept was intriguing and the technological effort undoubtedly commendable (as interestingly detailed on their developmental blog), the production’s delivery ultimately left me feeling more isolated than before I entered, and frankly quite depressed too.

Reviewer: Klervi Gavet

Reviewed: 28th February 2025

North West End UK Rating: