Darling, I Think I’m Turning Into A Chicken ⭐️⭐️⭐️

India Rose Olsen delivers an ambitious production that combines absurd comedy with themes of trauma, illness, family inheritance, and generational pain. The original idea's concept uses a surreal transformation to represent unresolved issues passed along through generations. While the production shows creativity, the pacing sometimes falters, and certain emotional moments do not realise their intended impact.

The choreography is one of the leading elements of the production. The physical theatre is inventive and expressive, playing an important role in portraying Florence’s unsettling transformation. Movement is used to communicate emotions and internal struggles that words alone cannot always express, helping create the play's surreal world. The choreography brings energy and imagination to the stage, providing some of the production’s most memorable moments.

The lighting design by Baysalt Gui effectively supports the production's shifting tone, moving among moments of humour, darkness and emotional intensity. The carefully placed lighting cues create atmosphere while complementing the intimate performance space without upstaging the action.

Sound by Tess McLee & Michael Fristot was well-balanced. As the audience entered, a light-hearted rap song about a chicken played softly in the backdrop alongside subtle music, immediately setting the atmosphere for the evening’s unusual premise. The sound design enhances the production, heightening both the comedic and darker moments, though at times it feels more supportive than a central storytelling element.

The minimalist staging makes clever use of projection throughout the performance. Upon entering the auditorium, the audience is greeted by a simple but effective set: a table, four chairs, six wine glasses, a suitcase, and Florence already seated at the table, with white cloths hanging behind her. These cloths cleverly serve as projection screens while also introducing depth and texture to the stage. The projections help create different locations, memories and emotional scenes, allowing the production to expand past its physical limitations without the need for elaborate scenery. The combination of the physical set and projected imagery is one of the strongest visual aspects of the production.

Costumes by Kenji Odono remain understated throughout, allowing Florence’s transformation and the performances to remain the main focus. The simplicity works well within the production's intimate style.

The original score (music & lyrics) by Michael Fristot & Tess McLee reinforces the production's unusual tone, balancing moments of humour with darker themes underneath the surface. Though it is effective, it occasionally feels as though there is more potential for the music to become a stronger storytelling device.

The book by India Rose Olsen explores generational trauma through an inventive Kafkaesque premise, combining absurd humour with serious subject matter. It is a genuinely original idea, featuring moments of wit and emotional insight. However, the pacing occasionally slows, and some themes feel more explained than naturally developed. The central concept is compelling, but the narrative would benefit from further refinement to help the emotional journey fully connect with the audience.

Darling, I Think I’m Turning Into A Chicken is an imaginative and original production with a clear creative vision. The inventive use of projections, minimalist staging, and, in particular, the notable choreography demonstrates a team with exciting ideas and a willingness to experiment theatrically. However, on the evening I attended, I was surprised when the performance ended after about an hour, even though it was advertised as approximately 90 minutes. It left me, and what appeared to be many others in the audience, with the feeling that the story had ended prematurely rather than reached a natural conclusion. I was expecting more, and the ending felt as though there was still much more of Florence’s journey remaining to explore.

There is no doubt that this production has the foundations of a very promising play. Its unique premise, physical storytelling, and exploration of generational trauma are all compelling. In my opinion, though, it still feels like a piece in the extremely early stages of development. With further refinement, tighter pacing, and a more complete narrative arc, this could become a much stronger and more emotionally rewarding production.

UPDATE: Hi, this is Jack. Just a little update to say that due to communication issues in this review where Anthony states that the show ended weirdly and confusingly. He actually left at the interval which was not communicated that it was an interval. Please keep this in mind with this review.