Club Life, Omnibus Theatre Review
Club Life. Photo by Kat Gollock
Written by Danai for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Club Life at Omnibus Theatre is an immersive performance that takes the audience on a journey through Fred Deakin’s life and the evolution of music and nightlife in the '80s and '90s. At its core, the show celebrates DJing as an art form and a deeply personal reflection on Fred’s experiences as a club runner and DJ in Edinburgh and London up until 2000. his is not just a performance; it’s an intimate dance floor where everyone is invited to move, reflect, and connect.
This is a performance for anyone who loves music, a show for those wanting a nostalgic experience, and even for those who may not be that passionate about music but absolutely love feeling like a part of something and not just passive viewers. It has an almost educational aspect, providing a glimpse into the club scene of the '80s and '90s. The uniqueness of the structure was fascinating; it felt entirely unlike any other performance I’ve seen recently, while the performers were all incredible, radiating energy, and the way the show adapted to each era was exceptionally well done. Abbie Kane with her amazing moves, Lily Carmen Smith with her expressiveness, Price Jones with his talent put in every move of his, Ben Standish with his captivating energy, the talented Michael Barker and Camila Lopez always standing out on stage, all became the best possible team to tell this story and take the audience along with them.
In terms of storytelling, the theatrical elements were limited, but I don’t think that was the point in any case. Here, the focus was on DJing as an art form and a means of revisiting the past and its culture that might have ended as it once was, or at least evolved into something new. One of the best parts of this show was its deeply personal nature. The elements of clubbing, DJing, and music didn’t feel like an excuse for someone to talk about their work or achievements. Instead, they were the starting points for personal reflection, representing not only Fred’s journey but the lives of many others who grew up in those decades, witnessing the shifts in music, nightlife, and life itself in the urban scene.
Parties and nights out from past years, especially from one’s youth, often carry a strong sense of nostalgia. Revisiting them can feel like reflecting on our lives, like honouring the fact that we are still here, still dancing and, as Fred reminded us, we are not yet ghosts. The unique vibe of past nights captured on stage, with everyone eventually getting up to dance created a non-passive approach and became a beautiful way to immerse ourselves fully, to feel the music and its evolution. The ending was particularly powerful for me. Fred spoke about understanding that this unique life he was given wouldn’t last forever. When he danced alone, it felt to me like a metaphor for life itself: like a club where we all dance alone yet at the same time with others surrounding us.
Overall, as someone who is captivated by music, particularly from past decades, this performance hit all the right notes for me. I’d love to see it on an even larger scale, perhaps in bigger venues, with even more people dancing and maybe with even longer fragments of DJ sets. If I got this correct, the very first track played at the show by Fred was ’Typical Girl’ by The Slits -which I wish Fred could confirm. As I bring the lyrics back in my head I keep thinking how non ‘typical’, unique and nostalgic this show was and really hope to see it again sometime in the future.
At Omnibus Theatre until 24 November 2024.
★★★★★
