Review: Everyman, Unit 15 – ‘An intoxicating adaptation of a universal play, brought bang up to date’

In their dazzling production of Everyman, Cornwall’s acclaimed Miracle Theatre have a rare beast on their hands – an intimate, immersive, and exhilarating show that educates while it entertains, neatly inviting audiences to self-reflection as they leave.

First commissioned by The National Theatre in 2015, former poet laureate Carol Ann Duffy’s adaptation of the medieval morality play – first performed over 500 years ago – transformed it into a contemporary play, crashing hard into 21st century preoccupations.

Miracle’s version is vibrant, fast-paced and funny. From the moment Death wheels in on a hoverboard, adorned with peacock feather earrings and glitter, the play manages simultaneously to be bursting with invention while never losing sight of its end game.

Everyman, Miracle Theatre – Dean Rehman faces Laura Cains – photo: Kirstin Prisk

At its heart, it is a simple quest towards self-discovery: “What does it mean to you to be a human being?”

Directed by Kyla Goodey, the project has an impressive team of creatives to its name, including music from Bristol-based Dom Coyote (from Kneehigh) that ranges from a bassy electronic soundscape to ancient folk singing; bold and seamless design from Glastonbury Block9 visionary Amy Pitt; lighting and 360° video projection from Sarah Readman (Punchdrunk).

The stage, is set, and beautifully so. But it’s the terrific ensemble cast who make it sing. Laura Cairns, Charlotte Merriam, and Giles King multi-role – and multi-accent – brilliantly, as Dean Rehman’s reckless Everyman tries to come to terms with his life, in the face of his death.

Everyman, Miracle Theatre – Giles King faces Dean Rehman – photo: Kirstin Prisk

There is so much packed into Everyman’s reckoning. We tread over the clutter and hedonism of his materialistic life (with a phenomenal representation of the “absolutely boxed” friends); his failed relationships; his decision to distance himself, physically and emotionally, from his family.

Carol Ann Duffy’s verse is visceral and arresting, a clarion call booming through the play; “I could have been betterer / Et cetera”.

There are shades of Our Town, It’s a Wonderful Life – even Trainspotting, at times. We are reminded of the power of good deeds, and the harm of inaction.

“I thought the world was mine to spend,” admits our protagonist. He is rent low, brought from the razzle dazzle and the red carpet of consumerism to standing naked in the dirt in front of God, realising at the death the error of allowing his head to be turned by “sales, not souls”.

What Miracle’s staging has done is to heighten the sensory experience for every individual that sees the show. Its bespoke performance structure, The Fleapit, is essentially a theatre in the round, with audiences watching on from separate pods of seven.

Initially conceived as a Covid-safe way of continuing live theatre, the effect is far more than safety. It is wonderfully intimate and utterly immersive, often making you feel like you’re the only one in the show.

At times – and without spoilers, not least in the moments when the pod becomes more akin to a confessional booth – you may wonder if the action played out in front of you is actually going on inside your own head.

Everyman is an intoxicating and enlivening piece of theatre, which every person, should see.

Everyman is at Unit 15 Creation Space on May 4-8. Tickets are available at www.miracletheatre.co.uk.

Main photo: Kirstin Prisk

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