Meaty, beaty, big, and bouncy... 1000 revolutions per moment is about pop, politics and posing; the search for the perfect gig; music and social change; remembering the soundtrack to growing up - and a whole lot more...

Truly site-responsive theatre is that in which the site is an intrinsic part of the performance: change the site and you change the work in an elemental way. In Brighton on a sparky winter's evening, weaving in and out of crowded bars, speakeasies and streets awash with drunks and dogs and cheery passers-by, jiving to the boombox sounds, 1000 revs seemed to be saying: 'The revolution will not be televised; it's here, it's now!'

Common to both versions of the show that I've witnessed is the strong performances - in particular the two feisty women 'rockers', Sarah Leaver and Denise Evans, and 'busker' Steven Grainger, whose ease with the audience is a key factor in the show's success.

Also to be flagged up is the behind-the-scenes work - from the collation of audience-suggested songs fed into the texture of the show in various ways, to the complexities of staging a show spread across so many venues, carparks, parks and streets, and the careful integration of community performers into the action (I very much enjoyed being locked in a Transit van with a local reggae combo...).

So that was Kings Cross – 1000 revs will be different every time, remade and remodelled for each new town, but it'll always have something to say, and songs to say it with. Catch it if you can!
Total Theatre

Hurrah. King's Cross has gone site-specific and promenading at last. As part of the area's Reveal festival, Periplum Theatre have put on 1000 Revolutions per Moment, a night-time musical walk, during which an elderly woman chants a striking love ballad and instrumentalists serenade from balconies. Periplum's nocturnal musical walk casts King's Cross in a new light.
The Observer

It was.... wonderful. It used the back streets, gardens and alleyways of Kings Cross as its stage. It encompassed music, poetry and theatre seamlessly and drove the audience along in a beautifully smooth and choreographed manner from a performance in the courtyard of an old housing block, to a silent revolutionary procession.
It touched on a lot of topics for me, some of which I'll list here.

• Music, its variety and its pervasiveness in life and culture. Its personal meaning, different to different people.
• 80s rave culture, and/or peoples' distorted memories of it, and its connection with civil disobedience.
• The increasing desire of people to record and share things instead of actually viscerally experiencing them - for example, look around you the next time you go to a gig/concert, and see how many people are concentrating on their mobile phones and cameras rather than the show.
• T he nature of a city as an organic entity, ever-changing. The same for smaller neighbourhoods, e.g. Kings Cross. "Half of my city has gone. The other half has yet to come".
  Development, and how it relates to the last point. Cities are living, and they change. Humanity, within the city, is constant, yet it is also constantly changing - "1000 revolutions per moment".

"All in all, one of the best things I've seen in a couple of years." Waldman Review