Gecko Theatre’s decision to revive Institute was a risk.  A subject as diverse, difficult and dangerous as mental health when combined with the whirling physicality and characteristic wit of this company could have hit the wrong notes.  Setting the piece in what they themselves call an Orwellian nightmare complete with old school filing cabinets, bulkhead lighting and tweedy suits might have been an exercise in stereotyping ‘madness’ more fitting to an earlier less aware age.  The fact that it concentrates solely on the reaction of men could be limiting.  We learn about their relationship to work, to family and to love, but not about women’s place in their world.  It could all so easily go so wrong.  Instead, what we have is a triumphant expression of daring theatre which leaves the audience not only gasping spellbound at the invention and immersion in the performance, but propels them at the finale to rise to their feet and cheer.

The brilliant artistic director Amit Lehav remains as a powerful devising performer and leads the small company of four men through troubling stories around mental health, breakdown and the basic humanity which propels them to care and mend others. 

Lehav’s ‘Martin’ and Chris Evans’ ‘Daniel’ arrive on stage acting like two slightly overgrown schoolboys bumbling around in an ancient dystopian office space, placing documents in enormous filing cabinets, some of which tower menacingly over them.  They have a warm bonhomie and although something is clearly wrong with both men, they genuinely seem to care for each other.  The increasingly fractured physicality of the two is interwoven with beautifully choreographed sequences where bodies become one as they help each other out.

We are introduced to the two other characters firstly through one sided telephone calls.  They appear first as bosses, overseers and pressure points as interaction is ramped up through sirens, red flashing warning lights and finally in person.  The slightly removed relationship is heightened by German ‘Karl’ played by Ryen Perkins-Gangnes and François Testory’s French ‘Louis’ speaking their own language.  The pair transform into carers, but it’s soon clear that they have troubles of their own. 

The narrative invention progresses with a headlong drive into the often macabre, heightened by some ghastly imaging including a man repeatedly falling into a smoking pit. This is just as suddenly juxtaposed with high comedy as Martin attempts to conjure up his love life in a rapidly crumbling romantic dinner setting. 

Original music by Dave Price and sound design by Nathan Johnson complement rather than compete with the performers who work as hard as any actor ever has. 

Not everything is easy to understand, but there is power in ambiguity as the audience is allowed to make up their own mind and not be spoon fed explanations.  Gecko manage to pull off a stunning show, with breath taking dance composition, ingenious stage design and first class acting ability to craft a thrillingly dark, funny and ultimately uplifting piece of modern theatre.  ★★★★★    Bryan Mason  28^th March 2019