Author: LiveArtAlive

Privileged to see individuals confront their demons and share their journey toward positive change in my psychotherapy practice. Intrigued by people and inspired by how the Arts can positively impact the human spirit somewhere each and every day. Passionate about theatre and the arts. Lover of the mosh pit at gigs.

The People Are Singing

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Royal Exchange Theatre Studio

Text by LIZZIE NUNNERY

Directed by TAMARA TRUNOVA

This new work by Lizzie Nunnery makes for uneasy viewing. We flinch as 12 year old Irina plays with a skipping rope that seems to scourge her flesh. As she chalks out Hopscotch or bounces over rope we reconnect with the universality of play. Mother and child are hungry and vulnerable. Songs, games and rituals are all that hold them to sanity in a mad world where no one can be trusted and nothing is quite what it seems.

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Cora Kirk is wonderful as the young Irina. She is on stage throughout the performance and handles this demanding role with apparent ease. The characters are well chosen to give a sense of  fighters – Mikhailo (Sam Redway) the embittered and disillusioned revolutionary and Dima (Graeme Hawley) who is excellent as the Russian soldier who  is a loving father turned monster by this war. The other women embody mothers driven mad by war. Katya (Chloe Massey) is the stoic mother feeding her starving child imaginary Borsch and Olena (Kate Coogan) as a grief stricken woman who has watched her son die in a landmine explosion.

The use of physical theatre is wonderful and there are some very deft moments – especially the use of the elastic rope. In the yellow and blue of the Ukrainian flag it allows some great moments on stage while cleverly reminding the audience of how pliable our sense of  truth and physical borders can be.

The creative staging allows the actors to conceal themselves in a range of ways. The sliding doors illuminated with church candles serves to move the actors on and off the stage while evoking a candle lit heaven or hell for the dead.

The use of song and music is central to Nunnery’s work. The singing of Russian and Ukrainian folk songs move the story along and give a sense of history and national pride. The tragedy for mankind is when our songs no longer fits our borders. What survives? Do we write new songs or sing the old ones louder?

This World Stages project brings together Nunnery and Ukrainian director Trunova gathering stories from the local Ukrainian community. They share a passion for story telling and the desire to give a voice to marginalised people. The themes of who we are in wartime and what choices we make when struggling to survive are prevalent in this piece. This is a brave production with a lot to say. There are some standout moments however it requires some editing especially towards the end where it risks becoming muddled and losing its focus. A case of too many ingredients in an excellent Borsch.

 

 

 

 

 

 

 

The Suppliant Women

Large Theatres

The Royal Exchange Theatre Manchester;

 

I was quite wary about seeing this production. I wanted to like it but quite frankly I was concerned that the linking of a 2500 year old Greek play and our current refugee crisis might end up seeming forced or rather too worthy. As The Lord Mayor of Manchester joins the choir of local volunteers to give the traditional thanksgiving I was intrigued by this piece of theatrical archaeology. The libation wine is poured slowly and evenly around Lizzie Clachan’s stark breezeblock stage;  then the choir  re enter with their suppliant branches forming a human boat sailing gracefully into Argos. Exquisite pure harmonies flood the space and I’m hooked.

Written by Aeschylus; this new version by David Grieg opened his first season as Artistic Director at The Royal Lyceum, Edinburgh. His intention to use theatre as a “democratic space” works well in a space like The Royal Exchange. Here the stage is often crowded but movement remains fluid and effective – perhaps a clever nod to how many countries can adapt successfully to accommodate refugees should they chose to.

The women sing in unison as they beseech King Pelagrus to heed their request for sanctuary reminding him that Argos is home to their ancestors Io who later sought sanctuary in Egypt and to Zeus; and reminding the audience that migration of people is central to our survival as a species. The local choir of 26 young women represent the 50 suppliant daughters of Danaos fleeing Egypt to avoid forced marriage to their 50 cousins. The central dilemma is “if we help we bring trouble if we don’t we invite shame”. This is a democracy so this King asks his people to decide the fate of these young women who have sung so passionately for their right to choose virginity over forced marriage. Sanctuary is granted but there will eventually be a heavy cost as the proprietary, prospective husbands sail into Argos.

This is a play about what do we do when we exercise choice. Are we selfish or altruistic; and either way is there always a price to pay? Beyond the issues of our stance on forced marriage or the refugee situation are other murkier issues that remind us of how complex the decision making process is. These are educated high born women of Egypt seeking asylum from forced marriage. They expect that asylum regardless of the risk to the citizens of Argos who face the fury of The Egyptians. They are shocked when the citizens suggest local marriages which would of course bring fresh blood and new wealth to the local community. It would seem that these steadfast virgins are somewhat disingenuous to the reality that in this life we rarely get something for nothing.

Director Ramin Gray ensures this production is bold and rhythmic and effective. The clever use of ancient instruments, staccato clapping and singing that beguiles, exults and wails laments invite the audience to start to breathe with the performance. Choreographer Sasha Milovic Davies and Movement Director Josephine Hepplewhite do an amazing job of ensuring that the very simple staging remains fluid and gloriously memorable. The human boat moves like it is on water and the simple use of the women’s scarves to form the bovine shape of Io is magical. Gemma May Rees as chorus leader soars vocally and is a luminous presence on stage as she leads the sisterhood of brightly clad suppliants.

It is however the chorus of local volunteers who are the living flesh of this performance. They are our teenage daughters or sisters or pupils clad like Greenham Common protesters or fans of The Levellers. I suspect their vigour and energy will leave a echo in this space long after the play moves on to another city; I’m sure Aeschylus would approve.