IMITATING the Dog’s reimagining of War of the Worlds is very loosely-based on H. G. Well’s 1898 book, instead clearly taking inspiration from contemporary post-apocalyptic works. Alien tripods and tentacles make what feel like guest appearances while the protagonist roams a landscape reminiscent of Danny Boyle’s 28 Days Later (2002).

Relocating the action to 1968 England, writers Pete Brooks and Andrew Quick make the conscious decision to include footage of Enoch Powell’s “Rivers of Blood” speech. Wells wrote at the tail-end of the Victorian era when British imperialism flourished while Brooks and Quick’s adaptation comes at a time when it’s difficult to turn on the radio without hearing news coverage of immigration law under debate. Repeatedly returning to Powell’s anti-Commonwealth immigration rhetoric makes the agenda far from subtle.

However, Imitating the Dog’s trademark mix of live action, camera trickery, projection and dioramas, acts as a distraction. The cast of four ably handle tightly choreographed sequences as the audience essentially watch a sci-fi B movie in the making. As live and recorded action vies for audience attention, this sensory overload is at times over-stimulating.

Throughout Gareth Cassidy plays the protagonist, Will Travers, awakening in a hospital from a head injury in blood-stained pyjamas after attending an anti-immigration rally. Remaining company members make up the other survivors, switching roles. Morgan Bailey differentiates characters through broad regional accents, liberally cackling inanely, further increasing the show’s nightmarish quality. Amy Dunn has the part of Traver’s sought-after wife while Bonnie Baddoo takes the technical lead.

Cast jarringly remain in the same costumes throughout, adding to the show’s disorientating effect. Combining cardboard cut-outs for props with live sound effects seems like a bizarre decision from Brooks and Quick, and coupled with the odd lag between live vocals and on-screen action is slightly off-putting. While final revelations of the play’s heavily foreshadowed twist ending, may provide answers, it is unlikely to satisfy.

Newcomers to Imitating the Dog’s distinctive theatrical style are likely to be wowed by their highly stylised and original brand of mixed-media staging. This technically slick production won’t disappoint their fanbase but those drawn to the show by H. G. Wells’ classic may be less impressed. While descending into cliché certainly explains directional choices, it is also anti-climactic and feels misguided.

War of the Worlds showed at Leeds Playhouse 25-28 March 2026 before continuing its tour: www.imitatingthedog.co.uk/project/war-of-the-worlds