Lights On Chaplin ****

Lights On Chaplin is an ambitious piece of physical theatre, broadly replicating Charlie Chaplin’s classic film City Lights, and weaving snippets from Modern Times.

Chaplin is probably the greatest physical comedian of all time. Born into poverty in South London, he was sent to a workhouse at just seven years old, an experience that helped shape the pathos of his iconic Tramp character, much of which is evident here.

The stage is joyfully minimalist: just a bench and a lamppost. Stage right, however, sits pianist Gabriel Ortega, whose playing drives the pace and shapes the mood of the narrative.

A succession of scenes sees Chaplin’s Tramp (Dmitri Rekatchevski) navigate life as a vagrant, take on jobs for which he is often ill-suited, suffer repeated dismissals and endure public ridicule, all while remaining in constant danger of arrest. His desperate financial circumstances even lead him to risk his own safety in a paid boxing match.

The plight of the economically marginalised Tramp provides the production’s emotional backbone, while his inability to navigate social conventions and class boundaries offers a recurring source of comedy. Yet it is his unselfish acts of kindness towards a blind flower seller (Alwina Najem-Meyer) that leave the most lasting impression.

Framed by the Great Depression, the scenes shine a light on the poverty-stricken as they struggle to survive the harsh realities of daily city life. Faithful to Chaplin’s cinematic style, the production combines physical comedy, mime, clowning and physical theatre irresistibly.

Also featuring Marguerite Vermersch, Jean-Baptiste Forest and Clément Darlu, the ensemble deliver a slick and highly skilled performance. Their choreography and synchronicity are flawless and finely honed. One joyous highlight was the re-enactment of the film’s boxing match, performed with precision and athleticism.

As well as being one of the performers, Najem-Meyer also adapted and directed Lights On Chaplin, displaying a keen eye. The production would, however, hugely benefit from a significant edit, some of the scenes failing to land and feeling superfluous.

The denouement is captivating. Its stillness, warmth and emotional resonance provide a striking counterpoint to the preceding slapstick, culminating in a moment that is both visually striking and genuinely moving. A brilliant finale.