Underworld

We've treated the production very much like a film, using our own versions of flashbacks, camera tricks and close-ups. The soundtrack uses cinema techniques too.

Scott Graham, director of the performance

 We made a point about the women not being elegant and the movement makes them almost reptilian. Their physicality is about a struggle that leads to exhaustion, pushing them to the edge psychologically.

TC Howard, choreographer of the performance

Following the successes of The Generation Trilogy, Sell Out and Hymns, Underworld is an electrifying study into the realm of fear. When in shock, how do you make the distinction between the paranormal and paranoia? When four notions of truth collide, four women face the question; is someone messing with their heads or is something taking over their Iives?

Hard, dark, fast and frightening, Frantic are back, breaking the boundaries of modem theatre with their breath-taking mix of touching realism and bruising physicality. With interweaving time scales, sub­plots, twists and a cinematic soundtrack, Frantic reinvent the ghost story for a modem audience.

The Guardian

 Horror has always seemed to me a deeply questionable genre but, mora! quibbles aside, Frantic Assembly, with their high-decibel mix of sharp scripting, stylised movement and pulsating music score, have yet again hit a contemporary nerve. It is extraordinary that they were passed over in the recent theatre funding bonanza.

Carole Woddis, The Herald, 26/4/2001

 Frantic use a snappy combination of sharply choreographed movement, music, shadows and light to establish palpable atmospheres of apprehension, with the various dance sequences in which the girls jerk back and forth as though in response to something the audience cannot see in particular emphasising the thematic interest in the notion of things that hold the greatest fear being the things inside you, your past, what you already know.

Claire Allfree, Theatre Reviews, 25/4/2001