Creative Thomas Gorham talks upcoming acrobatics show ‘GODZ’: “You won’t see this much skin in a Cirque du Soleil show”

Following its success in the fringe scene, the show lands on the West End for a strictly limited run — playing at The Peacock Theatre this week for four days only. Guillermo Nazara chats with one of the developers of the piece, to learn more about its Greek mythology theming and big Zeus-sical theatre numbers.

An adults-only production following the journeys of the Greek gods of love, strength and wine. What kind of ride should audiences get ready for?

GODZ is equal parts acrobatic tricks, and hilarious physical comedy. We get a lot of great reviews saying they are stunned at the comedic abilities just as much as the acrobatic skills, not to mention there is more than enough eye candy.

How do you translate a Greek myth-inspired narrative into a full-scaled acrobatic show?

I love these types of questions. A Greek god inspired show had been percolating in my mind for years before we embarked on the creation. Back in 2019, when we created our Western-themed show RAILED, we were tossing up between Greek gods and cowboys for a thematic. So it has been on the back burner for a while.

In preparation, I read Stephen Fry’s Mythos, to familiarise myself with all the common myths and legends. I thought to myself, “This is fantastic…. I won’t use any of it” (laughs).

We wanted to go with what was in common knowledge and pop culture about Greek mythology, not with what you would only understand if you studied. We followed a tight process, and we rehearsed and created full time for 3 months in a training space in Melbourne.

The process involved talking ideas, creating skits, performing them, and cutting and changing. We made enough content for a second show, a GODZ B-side, if you will. Maybe a GODZ 2 in years to come.

Apart from its theming, what makes this show unique in comparison to other acrobatic productions?

GODZ is hilarious, sexy, and skilful. There aren’t many shows with that combination.
You won’t see this much skin in a Cirque du Soleil show (laughs). You would have to go to Magic Mike for a similar experience, but then you wouldn’t get the comedy or acrobatic abilities. It’s the ultimate triple threat.

Have you found any particular creative challenges during its development?

Head First Acrobats are known for their hilarious narrative structure and cohesive storyline from start to finish. The scenes in this show are so outrageous. Threading the story was the hardest part of the narrative for sure. But it was also by far the most satisfying experience of creative development. I remember we had a bunch of post it notes on a mirror in my apartment, and we were shifting scenes around and talking smack about what could happen and why — and when we finally settled on something, it was immediate relief, because that process seemed to go on forever.

The show has been around for a few years now. Has it experienced any sort of evolution during that time?

Absolutely. We are constantly changing and tightening things in all aspects. We have changed acrobatic routines, sets, costumes — everything. The lighting design has been revised multiple times as well as music choices. As performers, we are always trying to thread the needle between delivering a perfect show of what we know exists and works versus looking for that new funny thing that could improve the show in the future.

Are there any highlights during the performance you’d like to flag?

Every act is a highlight; there are no low points in GODZ.  But if I had to pick a scene, I would say Nuns. It is consistently the most impactful scene in the show and kind of defines its whole vibe. A lot of people might be thinking what nuns have to do with Greek mythology — come see and find out.

Are you planning any new shows similar to this concept?

Not yet! We have a large back catalogue of acrobatic, and so far. GODZ is my favourite. I feel we are just getting with GODZ, as we are mostly fringe festival performers. This is our first gig in a theatre with GODZ, and it’s gone straight to London’s West End. Why change course? We could go to Broadway in the US or the Opera House back in Australia after this.

Why come see GODZ?

Because it absolutely rips. It’s just so much fun and you will have a rollicking good time. There is everything you could want, shredded bodies, crazy stunts, jokes, and nudity. What’s not too love? Plus, it’s won every award on the fringe circuit and got 5 stars from every reputable newspaper and critic. Why not treat yourself? You deserve it.

GODZ plays at London’s The Peacock Theatre from 11-14 June. Tickets are available on the following link.

By Guillermo Nazara