1000 (Millenia) at Almeida Theatre

The latest piece in the Islington Trilogy comes to the Almeida for its final instalment. Involving members of the North London borough, tonight’s performance aims to bring a fresh perspective from those living here. Written by Stephanie Bain and directed by Dani Parr, the two worked together with the Almeida Community Company to assemble an 80-strong group of local performers on the stage.

Starting off in the year AD 1000, a few travellers gather around a fire, taking shelter from persecutors, when a woman joins them, having escaped from hunters. In the following scenes, after introducing themselves to each other, they try to come up with a name for their surroundings, and eventually decide on designating the place, Giseldone, after the newest member of their group; historically, Islington was given this title by the Saxons in 1005.

The story then traverses to AD 1537, in a charterhouse monastery, where some monks live. The novice of the clergy awaits his vision, after which he can take his vows to remain in the cloister. There are hints of temptation amongst the monks, which elicits some laughs from the audience, as lewd humour usually does.

We then join a lively group at Angel Inn, where a dynamic barmaid plays a flirtatious game of to and fro with the local patron. They enter a barter to see who can come up with the best tale, the loser having to dance out a jig, in which everyone joins in. The protagonists in this story truly come to life, exuding a natural chemistry on stage.

Entering the scientific and literary salons of the 1800s, there is a séance led by a woman named Madame Delamont. The actor portraying her is very convincing in the role; some of the community members are more comfortable on the stage than others, which is natural for a play like this.

There is a pertinent sense of communal comradeship in the following story, where people gather in Angel underground station, taking shelter from the bombings during the Second World War. Audience members are perceptibly moved by both the sounds and the performance of a mother and her child, and these scenes are some of the more memorable ones.

1000 (Millenia), despite its ambitions, lacks a little coherence. There is some humour and pathos in this final instalment, as Bain reflects on a question she has been thinking throughout the Trilogy: does a place shape the people who live and work there, or do the people shape the place? The answer is most likely both.

The use of space is good overall, as is the lighting, sound and costumes. Taking into account that 1000 (Millenia) is a community-led play, the group seem to really enjoy themselves, and ultimately, this type of theatre cannot be too harshly critiqued.

Selina Begum
Photos: Courtesy of Almeida Theatre

1000 (Millenia) is at Almeida Theatre from 9^th until 11^th July 2026. For further information or to book, visit the theatre’s website here.