Earthquakes in London: style

Earthquakes in London employs the conventions of epic theatre, a form popularised by Bertolt Brecht. The play breaks the fourth wall, interrupts the narrative with songs and dances, and incorporates multimedia elements.
Use of narration and direct address to the audience, intended to encourage intellectual engagement rather than emotional involvement - a key element of Brechtian distancing or Verfremdungseffekt.

Though the play uses Brechtian techniques, it also fuses them with naturalistic elements to reflect the real world’s complexity. The dialogue is often casual and colloquial, characters are multi-dimensional, and social issues are presented realistically.
The play explores hyperrealism by blending the ordinary with the extraordinary. Normal life in London is juxtaposed with prophecy, time-travel, and potential apocalyptic events resulting in a surreal, dream-like quality.

The play displays influences of absurdist theatre. Absurd elements are evident in the fast-paced, non-linear narrative, and in scenes where the characters grapple with seemingly meaningless or illogical situations.

Hints of the musical theatre genre can be seen with songs appearing throughout the show. These songs vary from pop culture references to original scores serving to interrupt the narrative and add emotional depth.
Dance is used as a narrative device, often symbolising chaos, jubilation, or impending doom.

The story unfolds through multiple plot lines that overlap and collide. These plotlines showcase various perspectives on the themes addressed in the play.

The play incorporates surreal imagery through language and staging. Moments like the appearance of Leyla and Kayla or the vision of the end of the world establish the play’s surreal tone.

Multimedia elements play a significant role in the staging of the play. Live streaming, news tickers, projections, and sound effects are utilised to create an immersive experience and stitch together the play’s multiple narratives.