Apple of Discord - Chronic Insanity Review

Chronic Insanity’s Apple of Discord, performed in the atmospheric surroundings of The People’s Hall, Nottingham, is a bold, immersive promenade production that throws you headfirst into the chaos of Greek mythology and dares you to keep up. Known for their inventive storytelling, Chronic Insanity has once again raised the stakes with a production that is as chaotic as it is captivating. But when the theatre hands over the reins and invites viewers to carve their own path through the story, is there a risk that audiences might miss something essential along the way?

At the heart of Apple of Discord is one of mythology’s most infamous catalysts for chaos. When Eris, the goddess of strife, is excluded from the wedding of Peleus and Thetis, she retaliates by tossing a golden apple into the celebration, inscribed with the words “to the fairest.” What follows is a dispute between Aphrodite, Hera, and Athena, each vying for the title, culminating in Paris of Troy making the fateful decision that will ultimately spark the Trojan War. Chronic Insanity reimagines this myth not as a linear narrative, but as a living, breathing world. Audiences are free to roam the venue, stepping into private conversations between gods, witnessing cabaret-style performances at the wedding reception, or engaging directly with characters in one-on-one interactions.

What makes this production so exhilarating is that it is insanely watchable. It is always on. Every corner of the venue is alive with story, and every performer is locked into their character with remarkable commitment. The improvisational work is well executed; not once does an actor appear thrown or uncertain, even as audiences wander unpredictably through scenes, ask questions, or inadvertently disrupt the flow by somehow opening up Google on the ceiling (if you know, you know). It’s theatre without a safety net, and Chronic Insanity handles it with confidence.

The scripted elements, crafted by a talented writing team including Lauren Brady, Doug Deans, Ben Macpherson, Sam Marshall, Joe Strickland, and Esther Warren, are rich and linguistically lush, but it’s the fusion of text with improvisation, music, and audience interaction that truly elevates the piece. This isn’t just a play you watch; it’s a world you inhabit. And crucially, it’s a world that feels alive, reactive, and deeply playful.

That said, the scale of the production is both its greatest strength and its most notable challenge. With such a vast cast and multiple story threads unfolding simultaneously, it is simply impossible to see everything in one visit. The dual start times (7 pm and 8 pm, both concluding at 10 pm) give the audience an option of when to drop into the event. But honestly, two hours is not enough! Even with three hours, there were entire rooms, characters, and interactions I hadn’t had a chance to explore. In fact, I was tempted to book a second visit because I was afraid I had missed out. If anything, this speaks to the richness of the world created, but it also highlights the need for careful planning as an audience member.

The show assumes a level of familiarity with Greek mythology that not all audience members will have. It dives in headfirst, offering little in the way of exposition or character introduction. Gods and figures move amongst the audience without clear signposting, and without prior knowledge, it can be difficult to fully grasp the stakes or relationships at play. A simple programme, character guide, or QR code with background information would make a world of difference here. As it stands, there are moments when confusion creeps in, not because the storytelling is weak, but because the cast is 30-strong and the audience hasn’t had time to work out that Aesop, Athena, Apollo, Artemis, and Aphrodite are all different characters…

And yet, even in those moments of uncertainty, the performances are so engaging that you’re never completely lost… just occasionally adrift.

The People's Hall, Nottingham. The venue os the production.

Emma Webber’s Athena, whose breakout room plays like a mythological escape room. Faced with puzzles, audience interaction, and constant interruptions from other gods. Webber leads with confidence and clarity, guiding the room (and nervous audience members) without ever breaking character. Webber showed controlled improvisation, turning potential awkwardness into engaging, playful theatre.

In contrast, Marilyn Ann Bird’s Hera offers one of the evening’s most emotionally grounded performances. Her breakout room, filled with tension, betrayal, and quiet fury, provides a dramatic anchor amidst the chaos. Bird brings both gravitas and vulnerability, making Hera’s emotional journey one of the most compelling threads in the production.

Then there’s Joe Strickland’s Aphrodite; charismatic, witty, and effortlessly engaging. Their room, filled with slam poetry, philosophical musings on love, and playful audience interaction, strikes a perfect balance between humour and depth. It’s also a testament to Strickland’s versatility, not only as a performer but also as a creative force behind the production, serving as both director and set designer.

Kat Engall’s Hermes is pure joy. A whirlwind of energy, charm, and musicality, Engall ensures that no audience member feels left out, weaving through the space with infectious enthusiasm. Whether singing, storytelling, or simply engaging in conversation, she is a constant highlight, the glue that helps hold this sprawling world together.

Ben Macpherson’s Zeus commands attention with a booming presence and unmistakable authority, while Sam Marshall’s Apollo offers a more relaxed, observant energy, teamed with beautiful live piano playing. Nicki Morley’s Artemis provides sharp comedic contrast, particularly in her interactions with Aphrodite, while Dan Webber’s Aesop keeps the wedding reception alive with storytelling and wit.

And then there’s the wedding itself, a hub of activity where cabaret performances, live music, and roaming characters create a vibrant, ever-shifting backdrop. It’s here that the scale of the production reveals itself, though occasionally at the cost of clarity. Moments of overlapping dialogue can tip from atmospheric into distracting, particularly when multiple conversations compete for attention in the same space.

Still, these are minor growing pains in an otherwise extraordinary piece of theatre. Because what Chronic Insanity has achieved here is no small feat. They have taken a sprawling myth, a massive cast, and a complex narrative, and turned it into something interactive, engaging, and genuinely exciting. With a more streamlined structure, perhaps a smaller cast and audience, and clearer guidance, this could easily become a long-running immersive staple.

What lingers most is the sense that something genuinely special is happening here. This is theatre that trusts its performers, trusts its audience, and embraces the unpredictability that comes with both. It’s messy in places, yes, but it’s gloriously, ambitiously alive.

Apple of Discord is a triumph of immersive storytelling: bold, inventive, and bursting with creativity. For those uninitiated with Greek Mythology, it may occasionally leave you piecing together the narrative threads, but the journey is so engaging, so entertaining, and so full of life that you won’t mind in the slightest. In fact, you’ll likely want to return and experience it all over again, because when chaos is this captivating, who wouldn’t want another bite of the apple?