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The London International Festival of Theatre (LIFT) is a biannual UK-based event that brings groundbreaking international performance to the heart of the capital.

Since its founding in 1981 by Rose Fenton and Lucy Neal, LIFT has consistently aimed “to challenge British theatre and open a window on the world.” Over the decades, it has introduced UK audiences to global theatrical heavyweights such as Robert Lepage, Romeo Castellucci, and De La Guarda.

This year’s edition continues that legacy, presenting a bold and diverse programme that redefines the boundaries of contemporary theatre and invites audiences to rethink what performance can be.

Here are some standout productions from the festival so far, as seen through my own lens.

Bat Night Market was a captivating journey of discovery, celebrating the nocturnal and often misunderstood bat. This immersive experience transported audiences to a futuristic Taiwanese night market, where they were invited to sample imaginative food solutions inspired by a possible future. Alongside the culinary adventure, visitors were encouraged to engage with the hidden world these elusive creatures inhabit. The result was an intriguing and thought-provoking piece that blended environmental awareness with sensory exploration.

The Land Acknowledgement is a bold one-man show that is both deeply uncomfortable and unexpectedly laugh-out-loud funny. Featuring First Nations provocateur Cliff Cardinal, the piece takes audiences on a raw and painful journey through the history of Indigenous peoples in the Americas.

At its core, the show is a searing critique of the increasingly common—some might say performative—practice of land acknowledgements. Cardinal argues that while these statements recognize the theft of Indigenous land, they often stop short of proposing any meaningful restitution. As he bluntly puts it, if a child steals something, any parent would say the right thing to do is give it back.

Cardinal’s performance is intentionally provocative, pushing audiences out of their comfort zones. But given the show’s unflinching exploration of colonialism, exploitation, and systemic subjugation, that discomfort is not only justified—it’s necessary. The hope, as Cardinal suggests, is that this unease might one day give way to real action in restoring the land rights of Indigenous peoples.

A personal highlight of the festival was L’Homme Rare, an arresting dance work by acclaimed choreographer Nadia Beugré. In this powerful piece, Beugré explores the objectification of bodies—specifically Black male bodies—through a lens that is both intimate and confrontational.

Hailing from Côte d’Ivoire, Beugré challenges Western perceptions of race and gender. Over the course of the performance, the male dancers gradually assume a more traditionally feminine physicality, unsettling the audience’s expectations and provoking reflection on deeply ingrained cultural norms.

L’Homme Rare is both a demanding and invigorating experience—bold in its choreography and unapologetically political in its message.

Once again, LIFT proves itself a platform for boundary-pushing work, reminding us just how innovative and essential theatre and dance can—and must—be.