Magnificent, Miniature, More Than Theatre: Reviewing 'Five Lines' at the Barbican

★★★★ | Five Lines is a celebration of technical craftsmanship, dissolving concepts of what most believe to be a typical ‘theatre’ experience. Its hybridisation of theatre and cinema gives us two perspectives: one of ultimate immersion into the screen, and the other, an unabashed spotlight on the movements of a company of four serving as cast and crew simultaneously. They duck, motion, and eloquently glide across the stage to prop up charming mini-paper cutouts; by offering different possibilities of viewing, power ultimately lies in the audience’s hands. 

In association with MimeLondon, Swiss-duo Frau Trapp presents their COVID-19-inspired production in the Pit at the Barbican. Five Lines follows a couple in the throes of an Orwellian crisis when the Earth is faced with environmental destruction. An authoritarian organisation named Top Official Protection Oasis (TOPO) promises safety, forcing humanity to relocate below ground. As TOPO begins concocting talent shows and advertising their exclusive streaming service, the couple becomes anxious, questioning whether they should be complacent or escape their entrapment. Five Lines provides a commentary on modern life, whilst outlining universal concerns about climate change, power-hungry world leaders, and becoming dependent on technological advancement. 

Five Lives at the Barbican Theatre. Photo supplied by the production.

At my performance, pleasant chuckles emanated from the audience as soon as the glorious miniature sets were displayed on the big screen. The impressively timed and smooth-sailing camerawork flourished with ease, leaving little gaps in between scene changes. The cast slipped in and out of their characters like they were inhabiting different skins – it was an effort to keep up with the whirlwind of action forged before us. Flitting my eyes up at the screen and below to the miniature creations, I had no clue where to locate my gaze for easily the first ten minutes of the show.

Five Lines is by no means perfect, especially in its storyline, but the format it takes is transfixing and, I'd argue, the most important part of the production. The sheer amount of elements presented to the audience within the brevity of an hour almost excuses its limited plot. In fact, it is hard to be sure whether an improved storyline would have been beneficial, given that this would likely have prevented a full appreciation for the spectacle of theatrical crafts, which Five Lives sets out to bring to the fore.

In the theatre world, set pieces are manoeuvered in darkness, obscured from the audience. Actors jump on and off stage, and are never – if not rarely – part of the production process. These practices are intentionally designed to make sure that the audience is almost tricked into believing the play to be real. But none of this applies to Five Lines. The exposed nature of Frau Trapp’s process is the very thing that allures you: actors never leave the stage except for one costume change, cameras are pushed to one side out of view then pulled back onstage again, and hands dip into the set to move pieces around.

Five Lives at the Barbican Theatre. Photo supplied by the production.

Along with their experience in miniature theatre, Frau and Trapp have created music, which they utilise to imbue the show with delightful melodies and rhythmic qualities. Matteo Frau, a trumpet player since 1999, filled the room with ecstatic jazz, soulfully performing in character, even as his personality and love for his craft shone through. As for Mina Trapp, her experience in puppetry allowed for a dynamic and energised manipulation of the set, such that each grain of gravel, each cloud, and each tree was realised into a character of their own. 

The technicalities of the production were enough to thoroughly submerge me into the world and the dystopian narrative provides a solid basis for an experimental piece, yet it lacked anything particular that stood out amongst other narratives of the same genre. Although the plot is slightly derivative, the artistry and innovation present in the hybrid performance provide plenty of entertainment. Five Lines never bores, entrancing you in its methodologies – there is nothing quite like it playing in London. 

★★★★

Five Lives played in the Pit at the Barbican from 28 January to 1 February.