The Trial

The stench of burning still lingers, years after the Cowgate fire, in a forgotten corner of C Venues. It is a suitable background to Belt Up Theatre's intense, immersive adaptation of Kafka's The Trial.

Brushing up against its initially blindfolded audience, the moaning, purring 11-strong ensemble gently unleashes them into a brutal, disorientating space – lit and darkened by Jethro Compton. Only Dominic J Allen's Joseph K is constantly discernible as the black-clad ensemble nudges and manoeuvres the audience around – by turns witnesses, accusers, participants and parts of the set.

As Joseph K's nightmare unfolds, it is as much the emotional response to events as the detail of them which will make this work. So Serena Manteghi's sensual, lissom Ms Burstner creates a suitably charged moment of sexual confusion, or Markus Emerton's Huld, rising from a backlit stairway, is a vile yet powerful spider-like apparition. Yet the human whipping machine that debases Joseph's disgraced guards, does not achieve the horror it could.

The shepherding of the audience is key and a slightly more emphatic touch would be of benefit. If the production does not always fully achieve its potential, it is is still a clever, well-constructed and thoroughly satisfying piece of theatre.