Godface

107 Projects keeps in line with its programme of unique and original works by independent artists and theatre companies. Godface by Matriark Theatre is a poignantly designed story of pawns and the powerful in contemporary society. In a dystopic alternate reality — audiences do love dystopias these days — the election campaign for the city's new leader, its new Prime God, is on. There's a twist, though. The Prime Gods are animals, brought to life by Aleisa Jelbart's masks that weave magic into the narrative. Swansea is the ruler and New God his competition. Our protagonist, Pippa, however, destabilises the status quo by offering something foreign to the political milieu: sincerity.

Partly a pointed commentary on the political structures of the contemporary world, partly a carefully balanced work of theatrical magic, Godface is unique. Its most impressive component is the design and integration of the masks. Its set, a city cobbled together by cardboard boxes, does its job too — it paints an eloquent picture of instability, superficiality, and the hollow nature of things. These are the elements that fuel Matriark's originality, which is its defining and most exciting feature.

As with most new work, there are flaws. The design buckles sometimes under a script that could be finessed or even changed slightly to meet the poetic vision of the direction. The actors too need to find comfort in such a non-traditional theatre landscape. We trust this will come as the run progresses and development continues.

Godface is a remarkably ambitious production by an exciting young theatre company. Sometimes at odds with itself, it definitely comes out on top; Matriark Theatre manages to reinvigorate the potential for magic in theatre.