‘A visually stunning masterpiece!’
A tale which has stood the test of time and kept itself at the forefront of modern culture, Imitating the Dog take on this immersive and gripping production of H.G. Wells’ ‘War of the Worlds’. What unfolds on stage is not merely a retelling of a science-fiction classic, but a visceral, sensory-heavy experience that blends spectacle with unease.
From the opening moments, the production establishes its scale. The design (Abby Clarke and Faith To) and creative team (Simon Wainwright, Pete Brooks and Andrew Quick) deserve special praise for creating a sense of excitement and foreboding from the moment you enter the auditorium, bringing to life a beautifully yet eerie apocalyptic world right before your eyes. The designers had a clever use of projection, props, digital imagery and colours to make the staging pop, thrust a sense of panic, unease and destruction. A visually stunning masterpiece! With projections being cleverly used to portray imagery, angles, scenes and keeping the story moving along and making sure all aspects of the story were delivered. Video and technical sound design was by Rory Howson, Steve Jackson and Davi Callanan. Rob Roberts who was the sound technician and operator did a tremendous job as this show relies heavily on this aspect.
Thunderous sound design (James Hamilton), and a barrage of lighting effects (Andrew Crofts) create a sense of invasion that is as overwhelming as it is impressive. Sound is used aggressively, at times uncomfortably so, but this feels intentional: panic is meant to be felt, not politely observed. The Martians are not just described or suggested; they arrive! Through the technical artistry you feel and see the takeover. An artistic masterpiece through the blend of theatre and movies. The digital creation of the production is extremely clever and enthralling to watch.
The human story—fragile, fearful, and often helpless—cuts through the technical wizardry. Moments of desperation are particularly effective, offering breathing space between the onslaught of explosions and movement. These pauses remind us that this is ultimately a story about survival, uncertainty, and the collapse of assumed superiority. The performers show great range and depth. They are able to not only perform but also operate the cameras, change the media sets, adapt to different characters throughout their performance, use a variety of props, change scenery within media filming angles, a very physically and mentally demanding performance. Gareth Cassidy shone as William Travers, but his performance is fully supported and enhanced by his fellow principals Bonnie Baddoo, Morgan Bailey and Amy Dunn.
If the production has a weakness, it lies in the overall story itself, although outstanding, it is overshadowed by the media spectacle in front of you. This is not a criticism as such, as this story is uniquely presented and has stood the test of time. This is a very minor flaw in a production that clearly understands its mission: to immerse, to unsettle, and to astonish.
In the end, War of the Worlds succeeds as bold, modern theatre—loud, unapologetic, and thrilling. It may leave your ears ringing and your nerves frayed, but it also leaves you thinking about humanity’s vulnerability in the face of the unknown. And that lingering unease is perhaps the most faithful tribute the show could offer to its source. This production is an outstanding collaboration between both the performing and the technical and media arts. It is also a demonstration of the lengths people will go to to survive!
Review Date: 4th March 2026
Star Rating: FOUR