Review: Mythos: Ragnarök (Alexandra Palace Theatre)

Review by Justin Williams

⭐️⭐️⭐️⭐️

Occupying an unusual space between theatre and live event, Mythos: Ragnarök blends Norse mythology with the physical language of professional wrestling. It is a production driven by energy, endurance and spectacle, with a clear emphasis on experience over traditional storytelling.

Following multiple sold-out runs at the Edinburgh Fringe, the production arrives on its UK tour with a strong sense of identity. It fully commits to its concept, embracing humour, physicality and scale as it retells the story of Ragnarök through the volatile relationships between figures such as Loki and Thor. Narratively, the piece leans more into momentum than depth. The storytelling mirrors the structure of a wrestling match, heightened, episodic and driven by conflict rather than subtlety. While this creates pace and accessibility, it occasionally comes at the expense of clarity and emotional connection.

The direction confidently leans into the hybrid form, allowing the show to exist somewhere between theatrical parody and live sporting event. This is most effective in moments of direct audience engagement, though at times the balance between theatre and event feels slightly unresolved.

Ed Gamester’s Loki drives the piece with restless, playful energy. His performance feels deeply embedded in the physical language of the show, blending precision with a self-aware theatricality that actively engages the audience. There is a compelling sense of endurance throughout, with the physical demands of the role remaining visible in a way that adds to the immediacy of the performance. Rhonda Pownall’s Freyja is one of the strongest presences on stage. Bringing authority and clarity, she cuts through the chaos with ease. She appears to understand the demands of the space more than most, addressing the audience with precision and intent. In a venue where sound balance can feel inconsistent, her diction remains sharp and consistently audible, making this performance particularly accessible.

Evan Lee's Baldr is a particularly engaging presence, bringing a strong sense of character that lifts the production. There is a clarity and playfulness in the performance that helps ground the more heightened elements of the show, offering contrast to the broader, more physical personas on stage. Their characterisation is well defined and accessible, and it is clear from audience response, particularly from younger viewers, that this performance lands strongly. It adds an important layer of connection within the ensemble.

Lighting design by Dan Phillips is a standout. His dark, moody opening and transitions are among the most effective moments of the piece, establishing tone with cinematic confidence. The lighting works hard to define space and guide focus, particularly within a production that thrives on movement and energy. The wider design is equally effective and well-suited to the demands of the event. Melanie Watson’s work across costume and visual world-building plays a significant role in storytelling, with the costumes doing much of the narrative lifting. They clearly define character, status and tone, while remaining durable enough to withstand the physical intensity of the performance. There is a strong cohesion to the visual language, helping to bridge the gap between theatrical storytelling and wrestling spectacle.

From a staging perspective, this benefits greatly from not relying on a traditional end-on proscenium layout. The more arena-inspired configuration supports the immediacy of the action and suits the physicality of the piece. However, the venue itself presents ongoing challenges. Alexandra Palace’s layout continues to prove difficult for theatrical work, with problematic sightlines impacting the overall experience. Productions seem to suffer here for numerous reasons, not just technical, and that broader disconnect is difficult to ignore. Perhaps it was my seat, but there were notable issues with sound levelling, with a clear bias towards front speakers. At times, it was unclear whether the intention was to create a concert or a theatrical experience, but the balance never fully settled.

Ultimately, this is a bold and undeniably unique production that succeeds in its ambition to merge theatre and wrestling. While aspects of the experience were limited by the venue, the show itself is strong, driven by committed performances, effective design and a clear sense of identity. In a space better suited to its balance of spectacle and storytelling, it is easy to imagine this landing with even greater impact. Right now, it feels like a show outgrowing the space it’s being asked to fill.

Mythos: Ragnarök plays at Alexandra Palace until 22nd March 2026. Tickets from https://www.alexandrapalace.com/whats-on/mythos-ragnarok/