Author: Adapted from H.G. Wells
Directors: Simon Wainwright, Pete Brooks and Andrew Quick
Produced by: Imitating the Dog
Venue: Arts Theatre Cambridge
Performance: 29 April 2026
It’s hard not to be excited by this bold, highly technical reimagining of War of the Worlds by Imitating the Dog. Blending theatre and live filmmaking, the production delivers something visually striking and hugely ambitious.
At its core is a central screen that stitches together footage captured live on stage: side screens, props, backdrops and actors all feed into a cinematic whole, while below, four performers dart between roles, wielding cameras and set pieces. The effect is often impressive – but also overwhelming. With so many focal points competing for attention, it can be difficult to know where to look: the main screen, the live action, or the surrounding technical paraphernalia.
The story opens with an unnamed, injured man – later revealed as Will Travers in a hospital setting. Doctors and nurses in modern scrubs attempt to revive him; when he awakens, he finds himself alone and flees through corridors in blood-stained pyjamas. While cleverly executed on screen, this sequence feels a bit too long and slows the early momentum. Gareth Cassidy brings Will to life with remarkable physicality – running on the spot and creating the illusions that are part and parcel of this demanding performance.
Emerging into a devastated world, Will encounters a handful of survivors, played by a small but versatile cast. Morgan Bailey’s unhinged soldier, complete with an unsettling cackle, and Bonnie Baddoo’s range of desperate, fearful women add texture to the journey. Amy Dunn brings emotional weight as Evie, Will’s wife, anchoring the narrative, providing dialogue and adding a counter view to Will.
This adaptation leans heavily into themes of xenophobia and political paranoia. Set in the late 1960s, it incorporates repeated clips of Enoch Powell’s infamous “Rivers of Blood” speech, making its message explicit – indeed veering on overkill. The alien invasion, central to The War of the Worlds, becomes secondary to Will’s personal and ideological journey, including his drift toward far-right thinking.
Visually, the production is striking. The dark palette, punctuated by red and green screen effects, combined with a haunting soundtrack, creates a genuinely nightmarish atmosphere. In keeping with its digital-first, technical approach, even the programme is delivered online rather than in print – an apt extension of the show’s aesthetic, but tricky to read on a phone at the theatre. The aliens themselves, glimpsed as towering metallic forms and later as tentacled Doctor Who-style monsters, are effective but underused.
In the second half, the technical ingenuity continues as Will “drives” a car: the illusion is created on screen while the actor holds a simple steering wheel below. It’s clever and often playful, though with some inconsistency to details, with Will remaining in blood-soaked pyjamas after returning home while Eve is in a suitable ‘home’ outfit, is jarring.
As Will and Evie attempt to flee to Dover, hoping to escape to France, the imagery of small boats evokes the contemporary migration crises, reinforcing the political framing. It’s a powerful visual, though again the messaging is far from subtle.
So, does it succeed? As an exploration of new theatrical form – absolutely. As a faithful retelling of War of the Worlds – less so. The original story is largely side-lined, with only occasional nods to Wells’ narrative.
Is it worth seeing? Yes. If you’re interested in innovative theatre and the possibilities of live film on stage, this is a fascinating and memorable experience.
I was fortunate to stay for a post-show Q&A with the cast and technical team. Hearing about the demands of performing – constantly on stage, juggling multiple roles while capturing live footage from numerous angles – only deepened my appreciation. With earpieces delivering cues and direction in real time, the precision required is extraordinary. Maintaining character amid such technical complexity is no mean feat, and I take my hat off to the cast!
Summary: A visually inventive and technically ambitious production that dazzles in form but drifts far from the heart of War of the Worlds.
Production images: Ed Waring.
