IMPERMANENCE are making waves in the Bristol dance scene and it’s easy to see why as they bring to Edinburgh a complex multimedia show at the highly selective Zoo Southside.  It blends dance, theatre, cabaret, and even a spot of shadow play. But to be truly excellent in all of these media is a big ask.

The show is not just ambitious in its range of theatre skills deployed, but in the subject matter too.

It tells the story of the changing face of female political protest movements in Britain through the wars and the rise of fascism that is raising its spectre again today.  Specifically it focusses on Mary Raleigh Richardson, who started out as a suffragette, was arrested for taking a hatchet to Velázquez’s Rokeby Venus at the National Gallery in 1914, for which she was sent to Holloway Women’s Prison, before later becoming head of the women’s section of the British Union of Fascists led by Sir Oswald Mosely. Fascinatingly 30 – 40% of Mosely’s supporters were women, disenchanted with what mainstream parties were able to offer them at this time of female oppression and attracted by the party’s similar levels of conviction to the early suffragettes. Sound familiar?

In Holloway, Richardson famously went on hunger strike and the descriptions of how she was violently force fed are among the more striking aspects of this show.

The scene depicting Mosely’s supporters in spectacular all-black with silver piped ath-leisurewear, waving a massive black silk flag, is chilling and feels prescient in today’s political landscape. It’s one of the more powerful sections of what ultimately is a slightly patchy production. Although a vintage episode of Desert Island Discs with Sue Lawley interviewing Lady Diana Mosely is entertaining, if for no other reason than to hear the killer question, “Was your husband anti-semitic?” followed by a long pause and her next choice; Tristan und Isolde by, of course, Wagner.

The six-strong cast are let down by some wayward lighting in their opening night at Zoo, but this is not the only challenge in a show that is, ultimately, maybe just a little too ambitious. Because, whilst the production is both original and interesting it becomes narratively difficult to follow in the latter stages.

IMPERMANENCE are to be applauded for bringing this hefty production to Edinburgh with all its complexity and no shortage of ambition, hopefully the technical difficulties will diminish as the run goes on.

‘VENUS 2.0‘ is at ZOO Southside – Main House until Sun 24 Aug 2025 at 19:25