Immersive Rumours received complimentary tickets to this show and as such, are disclosing this information before our review of BOUND. The producers have had no input in the below and all thoughts are our own.
BOUND, the latest immersive theatre production from Amber Jarman-Crainey, delves into the numerous physical and emotional reactions people can have to grief. With nine storylines running concurrently across the five floors of Bargehouse on South Bank and nine performers to follow as they move around the space, the show encourages audiences to process and reflect upon their own experiences of grief and take a look at how it impacts people differently. The show came to be following the passing of Amber’s older brother in 2020 and has been created in collaboration with grief specialists to incorporate real-life experiences.
For BOUND, the show takes over the entirety of Bargehouse, a former meatpacking warehouse that sits directly behind OXO Tower on South Bank. With exposed brick and walls that look like they're moments away from crumbling down, it's the kind of venue immersive creators must dream about. While some parts of the building remain intentionally untouched, others have been transformed by the creative efforts of Sara Holmes, Susie Carlino, and Lara Sanjar. The set design, which includes a wild meadow of floral plants, twisting willow structures, and various drapings across the venue's five floors, is more a collection of art installations than the kind of realistic, detailed sets you'd expect at something like a Punchdrunk show.
The atmosphere is further enhanced by Anna Warren's soundscape, a mix of drones and hums that reverberate through the hallways, creating a foreboding experience that draws you deeper into the world as you explore it more. Throughout the show, anguished screams frequently echo through the corridors and staircases of Bargehouse, further underscoring the rawness of the emotions on display.
Photo: Rachel Patrice Fallon
A large focus has been put on creating storylines told through physical movement rather than dialogue. While they’re all engaging to watch, the most powerful moments in BOUND occur when the performers interact directly with one another, stepping out of their individual, isolated storylines. The standout scenes from our visit included Rosalia Panepinto and Julian Nicols' performances as part of the Rooted Love storyline and the intersection of Vinicius Salles' Shelter storyline with Madeline Napier's live cello performance on the top floor of Bargehouse.
Angela Harvey's portrayal of a daughter grieving her father's loss stands out as the most accessible storyline in the show. One of only a few storylines that incorporate dialogue more directly, her extended monologue detailing fond childhood memories and ruminations on how to continue onwards allows those who pick up this storyline mid-way through a clearer idea of the storylines themes. Later in the show, when the words give way to more physical expressions of grief - drowning her sorrow in alcohol, heckling other performers while staggering through the venue - we better understand their emotional journey than those told purely through physical movement, which is more abstract and open to interpretation.
Photo: Rachel Patrice Fallon
There are occasional moments in BOUND where the performers interact directly with the audience. In any immersive work, there's a thrill to these brief glimpses of connection, but it's amplified further in BOUND by the emotional distance between the characters, each isolated in their own grief, and the audience, who can largely do nothing but silently observe.
During our visit, we shared a moment with Lee Clayden's character as part of the Living Grief storyline, in which their character tries to navigate the world alone with early-onset dementia. Later, they recognised us, took us by the hand, and led us into another room to express their gratitude for our earlier kindness - a cathartic moment that has stayed with us long after. In an environment where the main characters rarely find relief from their pain, being able to offer help to someone in distress felt like a profound act of connection.
Photo: Rachel Patrice Fallon
Logistically, the show has several moments in which you might struggle to locate any of the performers as they continue to move around the massive venue. You can expect to be regularly running up and down several flights of stairs if you're dead set on following a specific character for an extended period, and the venue's numerous pathways can lead to you losing characters at a moment's notice as they round a corner and seemingly disappear completely. The tight staircases can also cause some bottlenecking at times.
Photos: Rachel Patrice Fallon
Fans of movement-focused immersive work will likely find a lot to admire in BOUND. It’s an impactful and thought-provoking show that invites audiences to reflect on their own experiences of grief and and offers a space to lighten the burden for those still carrying it.
8/10
BOUND runs at Bargehouse on South Bank from 25th August - 8th September. Tickets start at £11.55 for students and £15.87 for general admission. To book and find out more, visit coinstreet.org
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