‘Shot through with sensual power.*****’
Claire Smith, The Scotsman
(Fringe First nomination)

The myths & images still surrounding the ‘mad monk’ fuelled this exercise in relentless mesmerism. From his miraculous healing hands to legends of debauchery, we followed his mysterious relationship with the last Empress of Russia right up to the death throes of a dynasty. Through hypnosis we took a leap into the hearts & minds of a dying breed, into a royal world gone wrong with the workings of a revolution. Monumental Russian dolls swung like pendulums and opened up to reveal the heart of the mystery.

Rasputin gained a Fringe First nomination, was highlighted by the BBC World Service, and was invited to feature in the BAC’s International Festival Fringe


‘A fascinating & absorbing piece of theatre.’
Michael Coveney, Daily Mail (Edinburgh Festival Top Five)

‘Here is a journey into the dark secret heart of the relationship between Rasputin and Alexandra. The audience is swept into the couple’s inner world through stunning images and hypnotic performances. Wright’s script has a hallucinogenic intensity, oozing poetry and peppered with touches of dark wit. On stage, Wright is mesmerising and Claire Raftery is commanding as the Empress. Periplum’s Rasputin is shot through with sensual power.’
Claire Smith, The Scotsman (Five Stars, Fringe First Nomination 2001)

‘This delicious gothic piece has an overwhelming effect on the senses. Atmospheric music underscores this theatrical vault of flickering lights coming from unexpected places and casting shafts of multicoloured moods across powerful performers.’
Duska Radosavijevic Heaney, The Stage

‘This tale of the travels of Monk Grishka from the swamps of Siberia to Prince Alexei’s bedside is compelling. Stark, brilliant choreography by Director Claire Raftery & menacing strings make this an edgy, dangerous piece of work, with a sense of impending disaster that recalls the bleakest of tragedies.’
James Smart, The List

‘Rasputin was never portrayed so well as in this play. Two players are all we ever see on stage and yet they convey so much. This is powerful and effective theatre.’
Garry Platt, Edinburgh Guide

‘Claire Raftery’s Empress is brilliantly portrayed, especially her execution with a chilling use of strobe light and frozen attitudes. This is macabre theatre. With great use of light, water & cellos this piece successfully conjures an atmosphere of doom, unstoppable events and sexual tension.’
Geoff Beale, Total Theatre