Audiences are granted a unique opportunity to become wedding crashers in Dante or Die's ingenious theatrical production, I Do. This immersive show, now revived as part of the Barbican's Scene Change festival, transports viewers into the chaotic preparations of a wedding day at the Malmaison Hotel in London. Originally premiering twelve years ago, the performance offers a witty and intimate exploration of love, commitment, and the voyeuristic thrill of peering into strangers' most private moments.
A Glimpse Behind the Scenes
I Do cleverly divides its narrative across six hotel rooms, allowing audiences to move freely and observe scenes in any order they choose. This structure fosters a sense of discovery, as viewers piece together clues and callbacks that weave through the interconnected stories. The production immerses guests in the raw, unvarnished realities of a wedding day, far removed from the polished images of traditional ceremonies.
Intimate Encounters and Character Depth
From a best man practising his speech in a bathroom cluttered with beard clippings to a groom brooding in a room adorned with towel swans, the scenes are rich with detail and emotion. The cast, including Manish Gandhi as the neurotic best man and Dauda Ladejobi as the groom Tunde, masterfully balances ignoring the audience with playful interactions, brushing past or crashing into the interlopers in their cramped spaces. This dynamic creates an eerie yet guilt-free experience, akin to being a ghost trespassing on intimate moments.
Characters are fully fleshed out, with complex perspectives on romance. The bride-to-be Georgina, played by Carla Langley, grapples with unromantic examples from her divorced mother and careworn grandmother. Meanwhile, bridesmaid Abigail, portrayed by Tessie Orange-Turner, navigates her failing marriage while chasing her daughter through hotel corridors, casting doubt on the ideals of monogamy.
Challenges of Immersive Theatre
While I Do excels as a masterclass in site-specific performance, it also highlights the genre's logistical hurdles. The Malmaison's narrow corridors often feel uncomfortably crowded, with queues of audience members disrupting the flow. Some scenes are abruptly cut short by ushers herding guests along, and the tight space constraints may rob the production of a more celebratory climax. However, these minor frustrations are part of the immersive charm, mirroring the chaos of a real wedding day.
Reflections on Love and Cost
The show subtly critiques the financial and emotional burdens of marriage, with elements like a cheesy ad for cut-price wedding rings playing on a TV screen. It reminds viewers that weddings are not just about love but also about practical costs and societal pressures. Through its voyeuristic lens, I Do reveals the hidden, messy truths that never make it into glossy photo albums, offering a profound commentary on modern relationships.
Running until 8 February, I Do combines invention and ingenuity to sweep audiences down the aisle of theatrical innovation. It proves that the most captivating parts of a wedding are often the unseen, chaotic moments, making it a must-see for fans of immersive and thought-provoking theatre.
