Dante or Die's charming and intimate site-specific production, 'I Do', originally staged in 2013, has been triumphantly resurrected at the Malmaison London hotel in Farringdon. This revival, programmed by the Barbican, offers a nostalgic throwback to the golden era of site-specific theatre, where plays are meticulously crafted to resonate within non-traditional performance spaces.
A Sweet Throwback to Site-Specific Glory Days
While large-scale immersive theatre has surged in popularity, Dante or Die has steadfastly championed the more intimate, location-driven approach for over two decades. 'I Do', often regarded as the company's greatest hit and initially produced with the Almeida, exemplifies this commitment. The show unfolds as a series of earnest, interconnecting playlets that chronicle the fraught build-up to a wedding, an experience that would lose its essence if staged anywhere other than a hotel.
An Intricate, Non-Linear Narrative
Describing 'I Do' is a unique challenge, as the narrative structure is deliberately fluid. Audiences are divided into six groups, each guided by a dedicated usher, ensuring that every group witnesses the six vignettes in a completely different sequence. While the stories are self-contained, they feature subtle crossovers and shared characters.
Some characters, like the nervy best man Joe (Manish Gandhi), the wheelchair-bound grandfather Gordon (Geoff Atwell), and the lairy sister Lizzy (Alice Brittain), remain confined to their individual rooms, appearing in only one section. Others, such as the highly strung maid of honour Abigail (Tessie Orange-Turner) and the brother of the bride Nick (Fred Fergus), become peripatetic figures, their full stories only emerging across multiple vignettes.
Co-creator Terry O'Donovan adds a mystical layer as a hotel cleaner, whose repeated scene in the corridor cleverly signals that time has reset, revealing that all events occur simultaneously. If presented linearly on a conventional stage, Daphna Attias's production might resemble a tender, albeit soapy, snapshot of a family in dramatic flux. The wedding day nerves extend beyond the groom Tunde (Dauda Ladejobi) and bride Georgina (Carla Langley) to envelop the entire ensemble, delving into territory reminiscent of classic British soap operas.
The Power of Proximity and Logistics
The production's impact is profoundly amplified by its setting. Performed in small hotel rooms, the audience experiences an unparalleled intimacy, hearing every sigh and sensing every twinge of doubt from the cast. This closeness transforms the drama, making the emotional stakes feel intensely personal.
Logistically, 'I Do' is a masterpiece of synchronisation. The way the six stories interlock is genuinely impressive, delivering numerous satisfying 'aha' moments as characters' offstage actions are later revealed. A particularly delightful touch is the concluding scene, where the cast performs an 'outtakes reel' of corridor moments, serving as a fun and celebratory victory lap for the intricate production.
A Gem with a Cyclical Nature
While the logistical brilliance is undeniable, the show's inherently cyclical structure leaves it somewhat lacking a powerful final act. The ending, though entertaining, does not significantly advance the narrative, resulting in a slight sense of meandering. Nonetheless, 'I Do' remains a little gem of theatre. Dante or Die may be one of the last companies proudly identifying as site-specific, but they demonstrate that this approach can still yield compelling, emotionally resonant work.
The show runs at Malmaison London, 18-21 Charterhouse Square, EC1M 6AH, with tickets priced at £35 for a 1 hour 30 minute performance. Key dates include Wednesday 21 January 2026 at 18:15, with multiple performances scheduled through January and February 2026.
