Chetwynd’s troupe remind me of the Austrian performance collective Gelitin. Both draw on the medieval and the carnivalesque. It’s a world turned upside down. You can watch further performances on monitors while seated on an overturned, inflatable slide. This galumphing object wheezes and squeaks, and so does Chatwynd’s art. Liberating though it is meant to be, there is no catharsis. She wants to free us up, audience and performers alike, but freedom’s a fleeting thing.