London

What is it?
The experimental fringe of London theatre, where productions occur in spaces that weren’t originally designed as theatres.The experience Think theatre and you imagine a big black space with rows of seats facing a stage. The Time Out theatre critics – far too well-mannered to snigger at my task – explained that, actually, the experimental stuff now often happens outside of traditional spaces. Five years ago, artists began to seek non-conventional venues, wanting a different relationship with the audience. Deputy theatre editor Rachel Halliburton reeled off examples: the Almeida shifted to an old King’s Cross bus station, Dreamthinkspeak put on a play at Somerset House where the audience walked down passageways and peered around corners, and the BAC held a play in a hotel. Feature continues

Other audiences found themselves in the Clink vaults, and made to stand in front of Clapham’s Arding & Hobbs’ shop window. With a (very) basic introduction to the subject, I set forth to the Arcola. Just like in London’s clubland, the more experimental and fringe spaces open and shut in a heartbeat. The Arcola, though, a former clothing factory in Dalston, has not only remained open but now receives Arts Council funding. Its associate producer, Philip Arditti, explained that there used to be over 1,000 working factories in Dalston and now there are just eight. ‘Most of them are used for illegal raves that go right through to Monday,’ he said, shaking his head. I knew I recognised this area.

Inside were two rows of seats facing each other, the space in the middle broken up by three pillars; someone had spilled black paint on the floor, which, on closer inspection, was probably deliberate, as stones stacked on one another ringed it.

The play was Lorca’s ‘Yerma’, about a barren woman who goes mad and kills her husband. Most fringe spaces have room for just 30 or so in the audience, but the Arcola crowd still felt small with only 100 of us in attendance. We could have reached out to touch the actors, and it made the experience infinitely more intense than traditional theatre. The set was minimal: a chair was occasionally brought out; sometimes the actors carried baskets or small props.

In one scene, women were fiercely washing sheets, thwacking wet cloths on the floor and causing water drops to arc all over the audience. ‘Just like a foam party,’ whispered the TO reviewer next to me, although no one stripped down to their pants. In fact, the audience stared through the rain with ‘this is profound’ expressions. It was hard not to giggle. Ultimately, the success of the play entirely fell on the actors’ shoulders. Thankfully, they were exceptional – and didn’t even react when I kicked over my water bottle.

What to say
‘The innovative use of space and light in the Arcola helped stimulate the audience’s imagination.’

What not to say
‘Is Ben Elton doing any new stuff?’

Where to start
Lorca’s ‘When Five Years Pass’ is at the Arcola until September 23.The Menier Chocolate Factory (www.menierchocolatefactory.com) and the Roundhouse (www.roundhouse.org.uk) are key venues. Also look out for productions by Grid Iron and Complicite.