The whole thing starts with a box.
And what might be in it? Well, that’s the whole point: not to know. There are few emotions and anticipations that can excite quite like that of receiving a gift or a present from a loved one, with the contents concealed beneath ribbon and string. So it’s a firm welcome back to Barrowland Ballet’s The Gift, which was already met with astonishing reception and support in 2022, as it takes up residence once more at Capital Theatre’s The Studio, offering something entirely different than the full-scale Pantomime going on next door, but no less fun, zany, or enjoyable.
In an era of instant gratification at the swipe of a screen and an over-stimulation of generated ideas, to perform such a humbling piece of movement, sound, and joy and garner such an authentic response is a profoundly encouraging thing to behold. Natasha Gilmore’s piece on a young child’s initial disappointment at being unable to play with their new toy due to the batteries not being included offers the opportunity for their imagination to flourish and concoct an entire world from the cardboard, string, and paper littering the floor.
Transcending the barriers of language by only utilising the odd narrative word or phrasing from Joanne Pirrie’s flawlessly performed lead role, The Gift is principally a dance-theatre piece of work which incorporates sound and movement more so than any traditional sense of storytelling. Capturing that fuzzy, Christmas morning feeling of twinkling lights and reflective tinsel, Craig Fleming and Alberto Santos Bellido’s lighting, with Ruben San Roman’s adapted set design, made up of several cardboard boxes all stacked to reach the ceiling, is instantly accessible and engaging for young audiences who connect with the colours and movement. As the young child discovers something within one of the boxes, played by Rander Martins, a world of imagination explodes as the pair create and play and build upon one another’s actions, the show cleverly going through the motions of childlike innocence, greed, and eventual understanding of sharing.
It’s all building to these singular moments of striking subtlety and creativity, pinpointed in a sea of already ingenious use of props and set. Wrapped gifts littering the stage, a barrier between the performers and audience, are removed and revealed to be part of it all for a musical finale in one of the most sincere and simplistic moments of expression. Then, the real fun begins, as the final bow takes place, and the audience has a chance to get a feel for the presents themselves and appreciate the art of stagecraft and the brilliance in sound design.
The gift which keeps on giving, Barrowland Ballet’s returning show, supported by Capital Theatre, has quickly cemented itself as an essential and intuitive piece for younger audiences – particularly in a time where big, shiny, expensive presents just aren’t the norm for most families. A pertinent show, one superbly constructed and performed with charm and dedication, makes TheGift a genuine case for the simplicity and intelligence of honest storytelling, one which leaves children in a state of wonder and awe, giddy with excitement, and one which leaves the older audiences in the room reclaiming an innocence they may have left behind on the floor with the ribbon and tissue papers of youth.
The Gift is at The Studio at The Festival Theatre until Tuesday 31st December.