Octopolis is a witty two-hander with a playful spark in its fiery humour and a thrilling emotional journey tucked away within.

Professor George Grey (Jemma Redgrave), a world-renowned behavioural biologist, best known for her pioneering research into octopus intelligence, is grieving over her recently deceased husband. She spends every day with her research subject: Frances, who resides in a large, purpose-built tank in George’s campus accommodation. Their world is disrupted when ambitious anthropologist Harry (Ewan Miller) arrives, seeking to test a groundbreaking theory on Frances.

Entering Downstairs at Hampstead Theatre, Octopolis dresses the theatre in an oceanic ambiance. Blue velvet curtains, blue carpet, blue wash lighting, accompanied by David Bowie’s iconic songs; it feels like diving into the ocean with a Walkman plugged into our ears – delightful and liberating.

Blackout, the blue velvet curtain opens to reveal a sophisticated minimal set designed by Anisha Fields: a wall of built-in aquarium-like light boxes, lit up with a gradient of blue, filling with haze to suggest the motion of water. Two actors dress in matching hues, dancing on stage in an iconic, almost pulp fiction-like movement. No set, no props, just a bench and the water tank. A projection appears on top of the water tank: “The Future,” and quickly, we are immersed in the world of George and Harry.

The fast-paced dialogue between the two actors works like a charm. Marek Horn’s humorous text injects academic jargon with just the right amount of zest. Though the two researchers often speak in long, complex sentences, it maintains emotional resonance throughout.

The story is compelling. The octopus has always been a mysterious, intelligent creature that fascinates mankind. Its curious nature draws parallels to the curiosity building up between George and Harry. Redgrave’s performance is strong, grounded, and endearing. Her wittiness and assertive body language make the audience fall in love with her. It’s not hard to see why a young, passionate man like Harry would find her as fascinating to observe as the octopus. Miller exudes fiery playfulness in his performance. There’s no doubt we can see his obsession with his work. However, we wish there’s a clearer moment for us to see how Harry's feelings sprout for George.

Director Ed Madden strikes a balance between playfulness and sophistication, fuelling the audience's imagination. The overall quality and atmosphere give an aristocratic ease. The 'third actor,' Frances the octopus, is vividly present without ever being seen on stage. Thanks to the cast and creative team's artistry, we feel as if she’s right there in the tank with us. The imagination takes us exactly where we need to be.

Jamie Platt's interactive lighting design takes a creative stance on stage. The water tank/aquarium changes from one colour to another, like colourful ink extractions, adding depth, mirroring the characters' emotional journeys, and emphasising the octopus' presence. It prompts contemplation about sensory experiences. Who says we cannot feel colour?

There’s something captivating about two professional observers observing a subject as well as their personal lives from an intimate yet slightly removed standpoint. It’s as if the audience is looking into an aquarium, observing the two characters, just as they observe the octopus or even themselves. Octopolis touches on big intersecting ideas about religion, existence, human behaviour, and evolution through the lens of academia and emotional connection. It’s all very fascinating; we only wish it carried more weight than an inciting incident. Perhaps exploring how these big ideas impact the relationship itself would be an even more thought-provoking journey for the audience. Though time goes by quickly and it doesn't feel like an hour and forty minutes, there are bits that feel a little repetitive and could use some tightening overall.

Angela Gasparetto’s movement and intimacy direction and Esther Kehinde Ajyai's sound design infuse a playful spirit into the often logical and conceptual dialogues. The fun, quirky dance moves and the retro iconic music draw us closer to the characters' humanity over their intellectual minds.

Octopolis is a theatrical delight that skilfully blends humour with profound emotional depth. It immerses its audience in a captivating world of imagination, wit, conceptual challenges, and emotional depth. A gem for theatre enthusiasts.

**** Four stars

Reviewed by: Diana Feng

Octopolis plays at Hampstead Theatre until 28 October, with further information here.