Sparkle and Dark's Killing Roger is an exploration of cross generational relationships centred around a remarkable life-sized puppet, dealing with the reluctance to deal with death's inevitability and caring for the elderly.

Roger is skilfully operated by a team of puppeteers who achieved the perfect balance of breath, mannerism and stillness to bring the puppet vividly to life.

The production is supported by strong lighting and sound design, particularly the soundscapes by Tom Oakes. Sparkle and Dark are experts in manipulation and atmosphere, creating a gentle and thoughtful expression of death on-stage without cliché, however Killing Roger is over cautious and lacks a central drama.

Graham Dron as Billy, a young student entrusted with the assisted suicide of Roger, had the difficult task of switching between interactions with Roger and soliloquising as he confessed, and his delivery often failed to achieve the subtlety needed for us to connect with his situation.

The final moments of Roger's life are carefully handled; his energy fading as the puppeteers lay him to rest on the floor. The nuance of the stage relationships between people and puppets is highlighted here, his death so much more real than an actor's as the illusion fades.