This new offering from Punchdrunk Enrichment is an illuminating, joyous, immersive rumination on grief.

Usually when a reviewer focusses on the set, it is a bad sign but here it is undoubtedly the star of the show in the most positive of ways. Although smaller than many previous Punchdrunk venues the attention to detail throughout the experience is meticulous. The moment we enter Punchdrunk Enrichment stores we are greeted with the smell of the store, the texture of the environment and the magic of the world. Considering this experience is aimed at 6-11 year olds who could easily be pulled out of the world with one phoney item, the actual dressing of the environments is a thing of art. From the central game board through to small details like a height chart on the wall. The team have outdone themselves. The direction from Omar F. Okai effortlessly leads us through locations, narrative and time. We feel both led safely by the hand onto the next section but also somehow free to wander. The show and direction cover topics such as grief, the migrant experience, familial and society relationships and memory with ease and control.

This design truly immerses us in the simple but beautiful journey which takes place over 50 minutes which seem to fly by. Having recently lost her grandfather, Enitan is in the process of preparing an eulogy and celebration of his life. We are all invited to take part in a game she and her grandfather used to play which unlocks memories, play and narrative. The whole show has a joyful poignancy which as adults we can all empathise with. That juxtaposition that comes from the sadness of losing a loved one combined with the joyful memories and experiences they brought. For children this mammoth concept is made palpable and clear without it ever being condescending. In fact, the experience although profound, at points feels closer to an escape room; playing games and solving puzzles. This is perhaps thanks in part to Simon Maeder (Game Consultant) and I imagine children feel like this is an hour of led play within a real world – as adults we felt it for sure!

The small cast of two are also incredibly engaging. Oyinka Yusuff plays the titular Enitan with a truth that is admirable for this kind of work. We see her as a strong woman when first meeting her, and although this is never lost, we begin to see the child inside her with it’s sense of play emerge. This childlike quality, combined with a vulnerability surrounding the death of Enitan’s grandad (central to the plot) really endear us to the character but moreover encourage us to invest in the plot. A plot which takes a far more linear approach than that which regular Punchdrunk audiences will be familiar, and as such is more suited to the younger target audience.

Julian Smith’s Ged is delightful, full of curiosity, comedy and care. I attended an ‘all adults performance’ and could feel the whole room feel safe in his presence. I can imagine that in children’s performances the curious and daring follow Enitan excitedly and the slightly more trepidatious youth feel safe to hold back and explore with Ged, like a safe uncle figure.

The very nature of any show of this ilk is it is practically impossible to draw a line between which creative achieved what, but instead it is a sum of all parts. From the sound design, through to the carpentry team and the buyers and dressers. This is simply put, a beautiful piece of immersive theatre focussing on exploration, reflection and play. If you have young people in your family or friends, please take them to this.

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