Co-Creators: Francis Majekidunmi, Delson Weekes, Vicki Hawkins and Rachel Gildea
Co-Directors: Rachel Gildea and Vicki Hawkins
Stewarded by actors donning white tracksuits with red stripes (oddly reminiscent of Elvis’ attire), you’re taken on a psychotherapeutic journey, led safely through a surreal array of story and dance where you witness different relationships with food, from the delicious and easy to dream of, to the traumatic and harder to speak on.
From start to finish, you are brought alongside six actors who take the stage, sharing five modest golden toilets. With no interval, the show runs around 90 minutes.
You’ll not shy away from participating in the performance. There is not a separation between the actors and you—rather a dynamic relationship defined by shifts in lighting which embrace you and make you a part of the show. All the while still having powerful moments of focus on a single actor.
Despite there being one Elvis, this is an ensemble production. Rarely is there a moment when an actor takes the stage alone; the reason being the constant presence of Greg Colquoun, a BSL interpreter. Even if you do not yourself know BSL, through his expressiveness, his almost constant presence on stage offer a secondhand report of the action onstage. Despite that, when the music is sans lyrics, there are some memorable moments of solo dance. Two understudies take the stage: Laura Day, originally Directors’ Assistant, dances and acts in lieu of the role of Rachel. Originally played by Delson Weekes, Sabir Abdul brings this production’s non-traditional Elvis back to life.
Sonically, BLINK creates an atmosphere akin to a dream-like video game. You’ll first be brought into a soft, bubbly soundscape, establishing the baseline tone, which pairs nicely with the warm purple lighting. You’ll feel like you’re safely tucked away inside the glass of a lava lamp. Moving from the initial softer sound to pair with the intense feelings that come with some of the dialogue, your seat will vibrate with intense bass and treble at times.
If you’re coming off having just seen any of the recent Elvis Presley-inspired bio-flicks, this is definitely a departure aesthetic. It is silly at times but that tone is needed. Actors share stories that alone are hard to share, but they do it in a manner that feels comforting, rather than alienating. They return to the through line of The King and his unfortunate means of passing, depicting Elvis as a man who eats, and poops, and dies.
Reviewed on 25 September 2025
