22 March 2016 | 4:42 pm | Hannah Story

"Golem is wonderful - and you simply must go."

What is and is not theatre? What are the limits to where theatre can go? To how a story can be told?

Theatre, thanks to 1927, appears limitless in this production of Golem by Sydney Theatre Company. The combination of animation, claymation, live theatre and live music is enthralling. We're taken into writer/director and 1927 Co-Artistic Director Suzanne Andrade's world of Robert Robertson (Shamira Turner), his sister Annie (Esme Appleton) and their grandmother (the hilarious Rose Robinson). That world is created visually by Co-Artistic Director Paul Barritt, whose Terry Gilliam-esque creations are mesmerising, vivid and very, very funny. And the rapid-paced evocative live drum and key score is created by actor/musicians Will Close and Lillian Henley.

In the story, the timid Robert buys a Golem - a clay man designed to cater to his every whim. But soon Golem becomes too clever, beginning to dictate to Robert. Golem is an advertising, working machine with a love of Benedict Cumberbatch, and Golem 2, his update, is not half as endearing - but far more persuasive, convincing Robert to become more like the devices created to assist him.

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It's a witty stab at our technology — and marketing-driven lives — and it's also very, very funny, impeccably pulled off by the entire cast, who are flawless, interacting easily with the animations on screen, blending into the setting created for them.  

Golem is wonderful — and you simply must go.