A textured and poetic production, Song of Riots tells an urban fairytale through multiple components working harmoniously on stage, bringing an elaborate experience to the audience. Like vibrating atoms, a mass of individual motion is key in bringing surprisingly large results.

Individually, the cast seem to create their own particular magic, stamping their individual mark on the piece. If you focus your attention on one solo player, you’ll be engaged and entertained. Then, you could expand your vision to include the entire set and cast, and a dynamic scene exists.

In terms of narrative, perhaps this is not the production’s strongest part. The story itself looks at duty, family and belonging: two sons abandon their homes in frustration at their seeming captivity, in search of an other, more free existence, only to be disenchanted by life’s coldness. The two leads are fantastic – Jason Callender as the Prince, with his fluid motions, eager eyes and earnest enthusiasm that prove to be a splendid counterpart to Christopher Finnegan’s more aggressive, dangerous spirit as young polish Lucasz. Together, they partner well.

The direction by Christopher Sivertsen and Lucy Maycock is strong, backed by interesting set design from Alex Berry. The stage is a white, flat square with three panels of silk at the back, allowing projections to beam upon their sturdy, opaque skin, whilst allowing outlines of bodies behind to remain seen. The projection artist, Matt Smith, creates beautiful scenes of forests, urban construction and endless water, whilst the stage in front is left clear, facilitating bountiful physical activity.

Behind the vertical fabric screens lies a scaffold that actors vault up during the performance. At times a jungle gym, at times a container, it’s a brilliant way of allowing clean, urban movement. In one dizzying moment, Finnegan climbs right to the top of the scaffold and sits, with this feet dangling off.

Sound is a big player in the production. The noise is a haunting mix of spoken words, siren-like echoes and masculine tones. Speaking to what I mentioned before of texture, the generous offer that Song of Riots makes is always present.

There is plenty to enjoy in this production, most notably, the movement. Each scene is bursting with energy, the stage is flooded with movement and the eye always has something beautiful to watch, aided in part by the stunning projections. The verse of William Blake infuses the piece with a background of poetry, allowing room for a more lyrical take on a simple story, relaxing potential criticism to the weak narrative, which I don’t think is the point of a piece like this.

Song of Riots is a beautifully realised presentation of youthful naivety and frustration.

Song of Riots is playing at the Battersea Arts Centre until 17 October. For tickets and further information, see the Battersea Arts Centre website. Photo: BAC.