How do you warn the world about a bully if they’re always around to hear it, and too powerful to let it go? Through questioning the validity of legend, and the heroes and villains that go along with it, God Catcher offers an unrelenting look at the power of influence and the dangers of truth.

God Catcher is a musical reimagining of the Greek myth of Arachne – the talented weaver who paid the ultimate price when she let hubris get the best of her, or so the story goes. The show offers a different interpretation of the myth, one that questions the authenticity of its source.  As our Arachne uses her talents to weave her tapestries, our performers use their creativity to weave a tale of forgotten women and whitewashed crimes. It casts a troubling reflection of a society in which unchecked power determines the narrative of the future, in order to keep change at bay.

The story, written by Cassie Musie and Tyler McKinnon, is one of fleshed-out characters and engaging dialogue that captivates its audience and deliver son its important themes. Though it has some initial difficulties finding its feet, once it gets going it takes a firm hold of its audience and doesn’t let go. The creativity of the story is felt in the spine-tingling music, which would not feel out of place on a West End stage.

This creativity is further enhanced by the performance of each cast member, who commit to their roles with impressive skill. In particular, Yna Tresvalles delivers a truly dazzling performance – delighting the audience with her comedic portrayal of a young and naive Ariadne, before revealing impressive range as the character grows to experiences traumatic events and the disappointments that can come from worshipping stories.

God Catcher is an exciting and eye-opening piece that seems particularly important in a world where stories can reach us from an exhausting range of sources.  Despite taking place in a university lecture hall, with the set design of an improvised living room performance, the story convinces you that you’re watching a high-budget, West End production. I thoroughly recommend seeing the show at the Fringe while you still can but, if you are unable to make it this time, I anticipate that this show should have no trouble making its way to a larger stage soon.