Trompe l'Oeil | Contact Manchester

The “surreal” production Trompe l’Oeil has arrived at Manchester’s Contact Theatre this April, making a bold and unmistakable impression.

Originally created in 2016 in response to the election of Donald Trump, the piece positions itself as a satirical musical exploring themes of reality and identity. It is far from conventional, drawing on a range of art forms - including circus, drag, and caricature to shape its distinctive style.

The narrative follows Demi, played by Drag Race UK icon Veronica Green, and her love interest Rip, portrayed by Joe Pieri. Early in the performance, a loose Wizard of Oz inspired framework emerges, as the pair are transported to a version of 2017 America under Trump’s presidency. However, the progression of their relationship proves difficult to track, lacking the clarity needed to anchor the story. Instead, it often feels secondary to the surrounding spectacle, becoming overshadowed by the production’s broader sense of hysteria and chaos.

The storyline of Trompe l’Oeil proves somewhat bewildering and difficult to follow. While there are commendable comedic moments, the production as a whole lacks fluidity and cohesion, resulting in an experience that often feels chaotic and confusing. Phoebe Garr’s portrayal of Ivanka Trump was a particular highlight, delivering a sharp, Barbie-like caricature that injects energy into otherwise lacklustre scenes. Her rendition of Blank Verse stands out as one of the production’s most memorable moments. Caitlin Goman’s exaggerated interpretation of Trump also deserves recognition, both for her commanding physicality and for the humour she brought to the role - especially during the character’s onstage meltdowns.

Unfortunately, this production not only lacks cohesive direction, but also under-utilises its choreography and circus-inspired elements. The choreographic contributions from Thomas Ashton are particularly strong, and the integration of circus motifs with the political backdrop achieve an effective level of absurdity that aligns well with the production’s satirical intent.

Additionally, there were notable sound issues throughout the performance. While these may be attributed to early teething problems, they significantly impacted key moments, including an entire scene and musical number affected by microphone failures, as well as an imbalance between the band and onstage vocals.

Despite the show’s camp appeal and entertaining premise, it ultimately falls short due to inconsistent direction and an incoherent storyline. The cast deliver commendable performances throughout and make the most of the material they were given. With further refinement, there is strong potential for a more cohesive and successful future iteration of this production.

Trompe l’Oeil is running at the Contact Theatre until Saturday 2nd May, - tickets and more information available here.

★★☆☆☆ (2*)

Gifted tickets in return for an honest review | Photography by Danny Kaan