Hidden by Motionhouse Review
Written by Michael Neri for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review. Dyslexic lover of theatre, excuse any spelling or grammar!
Before Hidden even began, the audience was treated to a delightful curtain raiser featuring a troupe of local youth performers. Despite the varying levels of experience, the dancers complemented one another beautifully, blending their individual styles into a cohesive and expressive piece. Choreographed by the talented Harrison Yafai, the work demonstrated an impressive eye for composition and space— using topography to create living, breathing pictures on stage. Yafai’s choreography struck a fine balance between showcasing skill and celebrating inclusivity. A young choreographer to keep an eye on, without a doubt.
As someone who frequents the Birmingham Hippodrome (one of my favourite regional theatres), I couldn’t help but notice something unusual upon entering: the stripped-back setup. No familiar rig of lighting equipment front of house, just a few discreet speakers for the soundscape, and simple black drapes creating the wings. Initially, it felt almost too bare — but that illusion quickly shattered once the performance began. Hidden needed no elaborate staging. The focus was entirely, gloriously, on the human body. The minimalist lighting — understated but deeply effective — and the masterful projection work became perfect partners to the performers’ movement, creating a world that was both grounded and ethereal.
The company of seven — Alex De La Bastide, Olly Bell, Llewelyn Brown, Dylan Davies, Blair Moore, Sophie O’Leary, and Beth Pattison — commanded the stage with an intensity that was at times exhilarating and deeply unsettling. One particularly haunting moment in the second act saw two performers wrapped in cellophane, twisting and struggling to break free. It was a visceral metaphor for suffocation and liberation, a scene that left the audience holding its collective breath.
The standout moment for me, however, came in the first act — a duet between Llewelyn Brown and Dylan Davies. Quite simply, breathtaking. The two moved as if they shared a single heartbeat, their movements perfectly intertwined, at once tender and powerful. It was the kind of duet that doesn’t just impress; it connects. I understood every breath, every release, and found myself completely spellbound.
You’d expect that with so much acrobatic physicality, this would be a heart-in-mouth experience — the kind that has you gasping as dancers soar through the air. Yet, remarkably, the opposite happened. The performers were so rooted, so attuned to one another and the space they inhabited, that a deep sense of trust radiated from the stage. Rather than fear for them, you found yourself in awe of them — their control, precision, and fluidity.
Visually, the piece was striking from start to finish. The projections painted dynamic backdrops that transformed seamlessly between abstraction and narrative, while the lighting sculpted the dancers into living artworks. It was proof that less can, indeed, be more — and when done with this level of artistry, it was utterly captivating.
Kevin Finnan MBE, Motionhouse’s co-founder and artistic director, describes Hidden as a deeply personal journey — one exploring the darkness and light within humanity, and the connections that hold us together through crisis. His words resonate through every moment of the production. You can feel that sense of reflection and empathy, the quiet hope that humanity can find its way back to compassion, even in a fragmented world.
In Hidden, Motionhouse once again proves that dance can speak volumes without saying a word. It’s a work of beauty and introspection, full of heart, humility, and human connection — a performance that lingers in your mind long after the curtain call.
Hidden embarks on a short tour to Cornwall, Doncaster, Worthing and Portsmouth in 2025.
★★★★★
