If you’ve ever wondered what would happen if Norse mythology got suplexed into a thespian setting, Mythos Ragnarök has the answer—and it’s a body-slamming, laugh-out-loud spectacle that’s equal parts pantomime, pantheon, and piledriver. But despite the visage, it is theatre.
Rooted in the traditions of British wrestling and physical theatre, this show is a glorious mash-up of mythic storytelling and high-impact choreography. Odin, Loki, Thor and the gang are reimagined as swaggering grapplers, each with their own entrance music, signature moves, and heel-turns worthy of the greats. The cast—composed entirely of trained wrestlers—brings genuine athleticism and charisma to the stage, executing throws, flips and falls with precision and flair. It’s not just brute force; it’s balletic brutality.
The comedy is relentless and knowingly daft. Loki’s (played by writer Ed Gamester) camp villainy steals scenes, while Thor’s hammer gets more laughs than hits. There’s a running gag about prophecy that lands every time, and the audience is gleefully swept into the chaos like it’s Saturday night at the bingo hall—if the bingo hall had folding chairs and a blood feud.
Yet for all its muscle and mirth, Mythos Ragnarök could benefit from a dramaturgical tag-team partner. The storytelling, while enthusiastic, lacks narrative clarity and pacing. A stronger structural spine would elevate the mythic stakes and give emotional weight to the final showdown. Right now, it’s more Royal Rumble than Ragnarok.
Still, the concept is rock solid, and the execution—both literal and theatrical—is thrilling. It’s a rare Fringe show that makes you laugh, gasp, and want to chant “Loki! Loki!” at full volume. If wrestling is theatre’s rowdy cousin, Mythos Ragnarök proves it’s also a surprisingly poetic one—just don’t expect it to go down without a fight