dfp_header_hidden_string

Get our free email newsletter with just one click

Code 2021 review at a secret London location – ‘clumsy immersive courtroom drama’

Cast of Code 2021 at a secret London location
by -

In Secret Studio Lab’s new secret show performed in a secret London location the audience is both jury in a murder trial and in the studio for the world’s first live televised case. Also, it’s 2021 for no fathomable reason (though it’s used as an excuse to make some lame jokes about Trump being president and Corbyn being assassinated).

We listen to barristers, inspect a reconstruction of the crime scene and vote. Clearly there’s a satirical bent, slightly pushing the limits of reality TV and the capriciousness of the masses. But as it builds up its conceit, it also undermines it.

For one thing, the story is shoddy – champion boxer accused of murdering his girlfriend – and the characters are button-pushing stereotypes: a Muslim convert, an illegal immigrant). As well as that the performances – apart from those of the defence and prosecution lawyers – are cringeworthy and, although we’re told it’s live TV, there’s only one tiny camera in evidence.

We’re in a former town hall, and its council chamber is a grand approximation of a courtroom, but it feels like the show is letting the impressive location do all the work. The fact it’s set in 2021 is used to excuse the shoddiness. When manslaughter and murder are conflated, the excuse is “it’s 2021”. When the concept of reasonable doubt is erased, “it’s 2021”. A journalist character interrupts the trial to ask the audience for its own evidence collected from perusal of the crime scene. The judge allows it: because it’s 2021.

An audience savvy to the intricacies of murder trials through shows like Serial and Making A Murderer, will find the slapdash story and the lack of detail completely unconvincing. So what’s the point? Courtrooms are theatrical places, all those speeches and wigs – but, by turning it into theatre, they’ve made it feel absurd.

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
Verdict
Clumsy immersive courtroom drama let down by poor execution
^