TRIPTYCH from Blue Raincloud on Vimeo.


“Their understanding of what makes good theatre is exemplary. Form and content marry well, and I particularly enjoy the way they pass the baton between them, moving the storytelling hand-to-hand from one to the other, drawing each other in and out of the action. I also love the merging and mixing of live and recorded song and sound, orchestrated by the fourth onstage performer, musician and multi-instrumentalist Tom Cook.”

Total Theatre review of Triptych

“Triptych saw Brighton’s Feral Theatre. . . effectively combining storytelling, puppetry, music and dance. . . multi-layered shadow puppetry. . . dazzling aerial. . . The performers’ commitment to this diverse and technically impressive trio of shows was convincing, and a credit to Feral Theatre for sending the audience home bursting with ideas and hope.”

The Latest 7

“I was so deeply moved by the performances. Elevated, transported, and reconnected to something magical.”

Audience member, Triptych


“Three mournful stories exploring human cruelty and loss form Feral Theatre’s Triptych, voted Best New Play at last year’s Fringe. Written by Emily Laurens, Rachel Porter and Persephone Pearl – and accompanied by the haunting music of Tom Cook – Triptych is subtly powerful, a combination of projections and puppetry, aerial, and gentle storytelling.

Triptych was performed in Old Preston Church, a fantastic venue which infused the piece with a calm atmosphere and provided a delicate yet textured background, without causing us to read religious subtext into the piece like other church venues might. It was a refreshing treat to witness a gentler performance style, different to the usual sweaty exuberant energy of Fringe performances.

Feral Theatre took their time to lead us through the forest of their imaginations. The stories were honest and inspiring and there was a natural symbiosis to Triptych, which brought several different elements seamlessly together. The aesthetics of the piece were simple yet spectacular: ribbon roots stretching from the rafters, shadow puppet birds swooping. One of the most beautiful and powerful moments of the Fringe this year was created by using an OHP to project writing across the stage – rivalled only by the finale of Bianco.”

Jessica Cheetham, The Argus



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