Live Art Alive

40/40

Created, Conceived, Designed and Performed by Katherina Radeva

HOME

A middle aged woman kitchen dancing is something I can easily relate to. Heading to HOME on a Saturday night to watch someone else do it was not necessarily on my bucket list. Seated in a square around a dance floor that is taped up to resemble a unique take on Snakes and Ladders, the audience stare across at each other and wait. Katherina Radeva welcomes us as though we had actually entered her kitchen…warm and smiley…in her opening deluxe she might initially be underselling herself…until that moment when she reveals that this is what she wants to do and she just wants to f**k about and people are gonna have a real good time.

Dressed in a grey suit she opens with the frantic beat of Work! by Gnucci. It perfectly sums up the experience of many women juggling careers, relationships and family, trying to do it all but often just running on empty. Throughout the dance there is an powerful connection to the audience that is incredibly engaging. She later speaks of her childhood in Bulgaria and the body shaming of an enthusiastic child naturally good at rhythm gymnastics but told she was too fat too perform at competition level. Perhaps what makes this performance so joyful is the real sense that at reaching 40 Radeva is welcoming that chubby child unto the dance floor and centre stage.

Costume changes happen between each dance and feel like a blend of behind scenes wardrobe changes and raiding the dressing up box. They also serve to bring nudity onstage that is a statement of this is the female body at 40. This piece is all about Radeva claiming space and choosing how to define herself rather than having others pigeonhole her identity as a migrant, a wife, a set designer or a performance artist.

Sweet Dreams by Eurythmics is a pure joy to observe as watching her footwork in the intro is mesmerising as she explores the beat and the space. Increasingly sweaty or breathing heavily never feel like the performance is a strain on her as a performer but perfectly encapsulate the sheer physical joy of being present in the moment and enjoying every second. Other pieces reflect her Bulgarian heritage such as Maki Maki by Goram Bregović.

As the 50 minute performance closes on Radeva barefoot and knickerless and wearing a loose flimsy gown she is dancing to Rings of Saturn by Nick Cave. The lyrics seem incredibly apt as this time the chorus presents the woman as the divine force beyond explanation, beyond description. She just cosmically is. A truly joyous celebration of body positivity and acceptance.

HOME 7th October 2023

Tour dates for 40/40

VIGNETTES

Large Theatres

Written by Alex Keelan, Zoe Iqbal, Maz Hedgehog, Debbie Oates, Lekhani Chirwa and Lyndsay Williams

Directed by Kate Colgrave-Pope, Gitika Buttoo, Ifeoma Uzo, Bryony Shanahan, Amy Gavin and Ellie Rose

CONTACT THEATRE

VIGNETTES has been showcasing the work of local female and non-binary writers since 2020 and has rapidly become an established part of the Manchester theatre network. Set up by HER Productions and local playwright Alex Keelan each one focuses on stories from the female perspective.

The latest offering honours 45 years of Manchester Rape Crisis , with each of the short plays inspired by stories from the organisation woven around a play by Alex Keelan which outlines the history of the organisation. 1973-2023 introduces each of the other pieces by the haunting ring of the helpline phone. Joyce Branagh is excellent in her portrayal of one of the women inspired by her own experience to establish an organisation to support women after rape or sexual assault. Her portrayal of neat as a pin Joyce reflects the quiet stoicism of a woman who can be wearily matter of fact that you could be the most ladylike lady and you could still get raped. She appears in each segment as the decades pass reflecting the grass roots start, the gradual growth, the failed bids for funding and the successful ones that see the organisation both flounder and expand at the mercy of never having core government funding. Unseen and powerfully moving is Mary who remains on stage throughout in her cardboard house. Keelan uses a less is more approach to beautiful effect by keeping her unseen but never forgotten as a tribute to all those unseen traumatised women that rape imprisons in their homes or minds while the perpetrators roam free in a Society that still makes convictions for sexual assaults so difficult.

The other 5 short plays are varied and rich in their subject matter. Zoe Iqbal uses Bhaijaan to look at issues around abuse and consent within an arranged marriage when family shame can be more damning than abuse. Burdens by Maz Hedgehog explores a mother/daughter relationship where history repeats itself when both find themselves in abusive relationships and a daughter initiates help for her mother but finds herself asking the helpline Can a woman rape another woman? This is a well written piece with strong performances with an excellent Krissi Bohn stepping into her role as the mother at very short notice.

A Day in the Life Of by Lekhani Chirwa and Broken by Lindsay Williams both focus on the stress and difficulties for staff working for Manchester Rape Crisis. The first piece explores coping mechanisms and the importance of mentoring and features a really vibrant performance by Alicia Forde. The second piece features a blistering performance by Lois Mackie as an I.S.V.A (Independent Sexual Violence Advocate). It outlines the unimaginable strain on victims who wait for court dates and the difficulties of getting a conviction. In raising awareness of the importance of victim support it also asks the question why the lack of convictions seems to make sexual assault virtually decriminalised.

The central play by Debbie Oates bridges all the other plays as Lifelines tells the story of Yvonne who was supported by the helpline and is now ready to take her first call as a volunteer. At the heart of this subject matter is the importance of women listening to each other and creatinga safe space. Director Bryony Shanahan and the always wonderful Julie Hesmondhalgh make every word count in this sensitive piece. There is humour and a huge heart at the core of this story of a middle aged woman raped as a young girl who through the support of the helpline has finally learned to breathe again and most days can walk beside it…around it…most days.

Julie Hesmondhalgh in Lifelines. Vignettes at CONTACT.
Image credit: Shay Rowan

The production closes with a celebration for Yvonne as she finally retires. Joyce Branagh and the cast raise a glass on stage, then invite the audience to stand and for a moment think of all those unseen women in Manchester, the North West and of course within the audience itself. VIGNETTES producers Hannah Ellis Ryan and Alex Keelan can be justly proud of their achievements as tonight was a fitting tribute to an amazing and vital organisation.

CONTACT THEATRE 4th/5th October 2023

PROJECT DICTATOR

Small Theatres

Directed and Written by Julian Spooner, Matthew Wells, and Hamish McDougall

HOME

Rhum + Clay delight in devising and delivering intelligent theatre that asks pertinent and challenging questions. Shows such as The War of the Worlds, TESTOSTERONE and award winning Mistero Buffo have all had critical acclaim. This production commissioned by New Diorama Theatre last year is dedicated to international artists living and working under authoritarianism. Project Dictator (Or: Why democracy is overrated and I don’t miss it at all) is whiplash smart with a meta script that opens as a farce masquerading as a state of the nation play which increasingly pokes fun at flaccid over-hyped politicians before descending into darker more sinister asides about tinpot dictators. The chilling conclusion dramatically shifts pace into a stark and disquieting nightmare that illustrates the perils and restrictions on artists working in oppressive régimes. This really is a case of whether a committed performer chooses to risk dying onstage or potentially behind the scenes.

The opening scene invites the audience into a cosy setting where the stage is set with opulent red velvet stage curtains and a smiling pianist who belts out seemingly endless cabaret tunes. A closer look reveals a palpable tension…the pianists’ eyes flutter nervously and her smiles are more unnerving rictus grins than genuine cheer. The playwright and star of the show within the show has the smooth confidence of an Alan Partridge who describes his character as Emmanuel Macron meets Jesus Christ without a trace of irony. Matthew Wells oozes the easy confidence of a politician with a Messiah complex on a campaign trail full of soundbites, babies and photo ops. Then there is his counterpart Jeremy Spooner, initially relegated to multiple small supporting roles or as the logo on his boilersuit states simply Everything Else. Spooner plays the absurdist buffoon, a comedic sidekick to Wells’ straight man.

This classic teaming allows for the entertaining initial farce before this political sketch is suddenly upended. Roles are reversed as Spooner challenges the narrative and what unfolds is a vicious political coup on stage. The comedy is cleverly ramped up as he crashes through the audience brandishing a baby monitor strapped to a megaphone and adorns himself with flashy epaulettes and a huge fake moustache. Suddenly the OTT charisma of this Ollie Reed/Freddie Mercury characterisation starts to dissipate as the sinister agenda becomes clearer. The smooth polish of an ineffectual politician with soundbites instead of solutions has been overthrown by a narcissistic dictator. As the audience is whipped into a frenzy so comes the uncomfortable acknowledgement that no dissent is allowed. The audience is now as unsafe as the performers as we start to turn on each other to save ourselves.

The political farce onstage is over and the nightmare really begins as the set reveals backstage. There the performers falter…suddenly vulnerable and wary as they clear away the props. Literally everything and everyone is stripped bare and all illusion is gone. They are now sinisterly hooded prisoners ordered to perform, deviating off script at their peril. Donning heavy clown make up and costumes the loop of performance begins only broken by hellish ruptures before the loop begins again. The performance starts to fragment until exhausted and traumatised each individual must choose their path. The powerful closing scene is full of pathos and pain as it alludes to the constraints and dangers for those artists producing work under authoritarian regimes.

HOME 20th – 30th September 2023

Rhum and Clay

CENSUS

Small Theatres

Written and Performed by Malandra Jacks

Commissioned by hÅb and CONTACT

CONTACT

Mancunion theatre company Malandra Jacks was formed in 2017 by Josh Wilkinson and Chloe Barlow. Both have their roots firmly based in North Manchester and create work with a strong social conscience so perhaps no surprise that CENSUS is a celebration of Moston. Three miles from the city centre and 20 minutes on the bus yet a world away in so many ways. The next 75 minutes is a riotous and heartfelt journey that introduces the audience to local people, landmark locations, a history of the area and the social problems facing this community as it navigates present day working class identity.

The staging design by Faz Barber is highly effective. The simple white set is clean cut and created on blocks that allow maximum flexibility creating bus rides, living rooms with fireplaces that become conference lecterns, or plain walls that suddenly have windows to chat through. All of this is enhanced and utilised to the maximum by Projection Designer David Hall who does a beautiful job of creating maps of the area overlaid by images and video footage that create a vibrancy and immediacy to the whole production. This is clearly a labour of love by Malandra Jacks, Dramaturg Kate Bradham and the whole creative team.

Josh and Chloe bounce unto the stage with energy and enthusiasm as they immediately whisk the audience unto a bus trip to their home town. This trip is peppered with stories of weary mums, combative women, the odd bloodied man to be either stepped over or aided…and of course the invaluable information that it is indeed possible to travel on the 117 bus with a double mattress. Once in Moston there are audio recordings and video footage of local people talking about the area and what home means to them. There is a lively visit to their terraced house where they both live with Joshs’ mum Sue. Both children of divorce in lower income families there are also the splashes of what make each of us special and unique. Chloe lived with her Grandma who was a classically trained singer while Josh was welcomed into the world like the baby Jesus of Moston with hospital visits by Caroline Aherne and the local Lord and Lady Mayors.

Josh Wilkinson and Chloe Barlow in CENSUS at CONTACT.
Image credit: David Hall

A jump back in time to a social chronicle of 1905 Moston Characters At Play by John Ward is a poignant reminder that this area has always been home to characters forged through hardship and shaped by grit and determination. A lively interactive game of working class bingo wins one lucky audience member a loaf of Warburton’s …there is no artisan bread just yet but gentrification of the area is looming and may yet produce a war amongst the locals regarding beans, cheese, or avocado on toast. The sobering aspect of this production is the attempt to analyse what is modern working class identity when there no longer are jobs. Newspaper headlines and statistics appear peppered across the stage like graffiti and some of the statistics are damning. However this is a story of a community who want to be seen and heard for the positives and not just the negatives

The core of this production is about what strong community values mean and how they enhance and are the very backbone of what makes an area viable. There is a focus here on community groups and local volunteers who maintain youth clubs and local hubs. CENSUS gives them a powerful and inspiring voice that celebrates how they support and enrich the lives of local people. The impact is tangible as we sit in CONTACT watching a show developed by local people who were themselves supported by Youth Zone, by CONTACT itself through CYC(Contact Young Company) and The Agency. The show closes on the sobering news that the latest round of funding cuts has closed yet another vital community hub, Whitemoss Youth Club. We can only hope that the positive and hopeful voices in Moston and the surrounding areas remain loud enough to be heard and CENSUS is an important part of that social agency.

CENSUS 13th- 16th September 2023

Malandra Jacks

Key Moston Statistics | SOURCE Manchester City Council’s Intelligence Hub

Pupils achieving 5+ in English and Maths: Moston 25.52%, versus 73.36% Chorlton and 40.10% national average

Universal credit claimants: Didsbury West- 614 (7.72%), Chorlton- 723 (11%) versus Harpurhey- 4383 (43.5%) and Moston- 3039 (35%)

Residents claiming unemployment benefit- Didsbury West- 250 (3.12%), Chorlton- 280 (4.2%), Harpurhey- 1135 (11.3%)

Great Expectations

Large Theatres

Adapted by Tanika Gupta

Directed by Pooja Ghai

ROYAL EXCHANGE THEATRE

Great Expectations by Charles Dickens has been a crowd pleasing classic since first published in 1860. It has inspired numerous films, television and stage adaptations. Here Tanika Gupta takes this coming of age story and places it in 1899 in Bengal where rumours swirl of the British Empire’s intention to implement partition. A version of this adaptation was first staged in 2011 with English Touring Theatre and Watford Palace Theatre but perhaps it is even more relevant now with the rhetoric of politicians such as Suella Braverman and Priti Patel. Director Pooja Ghai sees this classic tale as ‘a rags to riches to rags story’ and Tanika Gupta uses the narrative to explore themes of religion and caste, race and colonialism. The outcome of this artistic collaboration is a success with the narrative staying true to Dickens and the new elements, for the most part blending in effectively.

The staging design by Rosa Maggiora is simply gorgeous. All ombre hues and intricately carved wood and metalwork, it flows as effortlessly as the glistening aquamarine of the surrounding river; a constant reminder of the impact of the looming Partition. The division between the world Pipli inhabits versus that of Miss Havisham and Estella is deftly delineated by the high carved gates. This is vividly accentuated by Lighting Designer Joshua Carr who paints the hopes and possibilities of having great expectations with a warm golden light whereas the home of Miss Havisham is dimmed and dulled as it reflects the chill and joylessness of all hope and love being long gone. With each moment the stilled, cobwebbed clock descends there is a sense of decay and wasted expectations.

Although certain characters’ names are altered to South Asian ones, they remain true to Dickens’ original vision. Pipli wears his heart and hopes firmly on his sleeve as he strives for what he perceives as a better life and naively entrust his heart and fortune to Estella and Miss Havisham. Esh Alladi does a good job with the younger Pipli but really hits his stride as Pipli grows up and experiences the brutality of heartbreak and the difficulties of straddling two worlds of class and culture in a rapidly changing world. Some of his later scenes are genuinely riveting and incredibly emotive.

Overall this is a strong cast with Andrew French creating a memorable take on the convict Malik. There is an added richness in how his beleaguered history has created a man still capable of love and generosity whereas the heartbroken but privileged Miss Havisham is cold and embittered and seems only capable of revenge with no redemptive qualities. Catherine Russell is a riveting onstage presence eliciting all Miss Havisham’s ghastly prejudice and disdain but flitting into moments of laudanum induced reminiscences that show the coy, innocent girl that was snuffed out on the morning of her wedding day. Cecilia Appiah as Estella captures the cold, haughty girl who is trapped knowing how she must be in order to keep her rank and privilege and discarding her joy and her capacity to love in the process. Some of the lighter moments come from a deftly comic and endearing performance by Giles Cooper as Herbert who befriends Pipli and steers him through the pitfalls of his new life and remains a constant despite the wavering fortunes of his great expectations.

Ceilia Appiah as Estella in Great Expectations at Royal Exchange Theatre
Image credit: Ellie Kurttz

Running at 3 hours including an interval, Director Pooja Ghai keeps the action flowing and the energy high. There are issues such as the running around the stage that feel unnecessary and not the most imaginative use of this wonderful theatre space yet the fight scenes are fresh, visceral and well crafted. Towards the end the political speech may feel essential to drive home the narrative but feel slightly rushed and does not work as well as it could, followed by a comedic touch which spoils the pitching of both. Overall there is much to love and appreciate in this production. It feels like a genuine celebration of placing talent old and new above race, religion or class. Perhaps it is even more special taking place in a theatre repurposed from a commodities exchange that built its success on colonial systems.

Great Expectations 8th Sept – 2nd Oct 2023

Ernie’s Incredible Illucinations

Uncategorized

Presented by The Edge in association with the Booth Centre

THE EDGE THEATRE

It’s that point in summer where there’s just one place to be on a Friday afternoon and that is in The Dressing Room Cafe Bar at The Edge Theatre in Chorlton. Busy and buzzing the crowd spills out into the pretty garden dining area as the audience wait to take their seats. There is an extra buzz today as rumours abound that our very own King of the North and Mayor of Greater Manchester is in attendance. Actor and comedian John Thomson is already here in his role as Patron. This is a beautiful theatre space in South Manchester which embraces a community ethos and provides a creative hub that welcomes those who might not ever usually access the performing arts.

The theatre company performing today were established as part of the theatres’ longstanding work with the Booth Centre which supports homeless and vulnerable people. This vital work focuses on team building as a company and teaches confidence building skills and self autonomy. This project is genuinely inspiring as with each production there is clearly a development of acting skills and confidence in the company. This kind of work establishes evidence that individuals who have experienced chaos and uncertainty in their lives can and do show up on time to rehearsals and productions. The team at The Edge are passionate about what they do and what they do is always well executed to a high standard.

Alan Ayckbourn is much loved and this short play although written for children appeals to all ages. The central character Ernie Fraser ends up in the doctors surgery with his bewildered parents when his “illuminations” get out of hand. Gifted with a peculiar talent to make his imagination come to life, Ernie has his poor parents war with a living room full of enemy soldiers and his Auntie fight a wrestling champion in a fairground. The final straw is having his Dad up a mountain rescuing a famous climber but when his G.P. despairs the ensuing outcome results in a marching band parading through the Surgery! The theatre company tackle these scenes with real comic aplomb and bring energy and enthusiasm to all their scenes. The set is cleverly designed to allow for all the scenarios that Ernie imagines. The live band add to the pacing of the production and it really is a riotous romp through this classic play. Some of the actors are familiar faces while others are on stage for the first time but this is a really supportive company and everyone looks comfortable on stage. This is a little theatrical gem and this production adds an additional sparkle from a small theatre with a big heart.

The Edge Theatre 13 -15 July 2023

FIND YOUR EYES

Dance, Photography, Theatre

Concept,Direction, Photography and Text by Benji Reid

Dramaturg Keisha Thompson

MANCHESTER ACADEMY

Part of Manchester International Festival

It is always good to see the work of local artists showcased at Manchester International Festival. It is absolutely brilliant when you see one of those local artists produce work that is so exciting and memorable that it easily becomes a highpoint of the Festival. Such is the case with FIND YOUR EYES as self-styled Choreo-Photolist Benji Reid skillfully blends the artforms of choreography, photography and music together in this new work. Set in a music venue this show is simply breathtaking on every level. At barely three minutes in there is a palpable feeling that this is something really special and when it ends 90 minutes later the standing ovation is immediate and resounding.

Benji Reid was originally a highly successful hip hop and popping dancer who worked with Soul II Soul before establishing his own dance company Breaking Cycles. His extensive dance knowledge and choreography skills are evident in this new work which showcases his skill as an award winning photographer. The focus of his work is primarily the Black British experience, Black masculinity and mental health and this production takes a deeply personal and unflinching look at abortion, suicidal thoughts and other family traumas.

It is absolute magic that abounds through this production. The audience is literally looking over Reid’s shoulder as he works softly coaxing expressions or poses from the performers. The imperceptible click of the camera shutter as resulting images appear on the screens. Lights are moved, fans blow, foil crinkles to make light dance or prism…the trick of his trade are unveiled and it feels awesome and exciting. The palpable thrill of being so intimately connected to this artform as the work emerges is genuinely thrilling.

The show opens with Reid tooling up with camera equipment, his back to the audience with vast projection screens either side of him. A bell rings once and so it begins…three Acts featuring intimate portraits, dancers showcasing everyday objects such as charging cables elevated to futuristic headpieces, a pole dancer morphing into a human kite and a deus ex machina bringing salvation to a pain ridden mother. The set design by Ti Green opens out with every Act to bring new possibilities like a box of magic tricks.

The three performers on stage embody grace and strength and fluidity. Slate Hemedi and Salomé Pressac are wonderfully present in every tiny movement they make whether it is being gently molded to hold a seemingly untenable position or to soar with balletic grace. Dutch Pole Dance champion Yvonne Smink adds to this otherworldly imagery by appearing to literally soar and fly off the pole. The whole performance is peppered with moments that make the audience gasp in wonder.

Benji Reid and Dramaturg Keisha Thompson have worked together in 2017 when he directed her one woman show Man On The Moon. The trust relationship is evident in the very personal natural of the text and content of this work. Moments when he speaks of his own trauma and that of his Mother when her body is devastated by a stroke are rendered here with sensitivity and tenderness. The whole feel of this production is of exploring the ritual of dance and photography in a way that feels prayer like and redemptive. The magic of animating life-force, building a moment and capturing it as a permanent image. This work like so much of the artists’ soars, Reid says of his work…”it’s like – not how do you fly, but why? Ask me why I’m flying.” FIND YOUR EYES is a beautiful exploration of human spirit whether we fly by choice or simply when we are momentarily untethered in this world.

Manchester International Festival 12 -16 JULY 2023

BENJI REID

All Right. Good Night.

Large Theatres, Performance Art

Written and Directed by Helgard Haug

Score by Barbara Morgenstern

Arranged by Davor Vincze

HOME

For Manchester International Festival/Factory International

MIF23 is once again working with German theatre company Rimini Protokoll. This time it is to present the UK premiere of the award winning All Right. Good Night. This is a deeply meditative piece which uses sound and text to immerse its audience in a reflection on disappearance, loss and how we as humans deal with uncertainty. Running at approximately 140 minutes without interval, this could be a daunting prospect but it is actually one of the highpoints of this Festival. Beautifully conceived and exquisitely rendered this piece interweaves two real stories of loss to highlight the fragility of life and the tenacity of hope even in the most desperate of situations.

Helgard Haug explores the uncertainty, grief and bewilderment faced by those who lost loved ones on Malaysian Airlines Flight MH370 from Kuala Lumpur to Beijing which disappeared from the skies in 2014. She draws parallels with her own experience of watching her Father descend into dementia around a similar time. The Father as he is referred to in this piece was a man who meticulously planned for his future and poignantly had already built flats for dementia patients. Plans and actual outcomes sadly often differ…people may queue up to board a plane that never arrives…parents may plan for the possible onset of dementia never knowing that the illness may rob them of the capacity to adhere to those plans.

On Stage are 5 musicians from ZAFRAAN ENSEMBLE MUSICIANS and the rest appear on screen and in recordings. The music by Barbara Morgenstern is beautiful and perfectly reflects each event and year that passes for the families in these two stories of loss. The use of projection screens at the front and back of stage help narrate the story as text floats across the gauze hinting at the fragility of life. When the music expands to include the full ensemble they are projected moving across the screen playing their instruments and loop around to surround those actually on stage. The overall effect by Marc Jungreithmeier is wonderfully playful yet hints at the ephemeral ghosts of those lost souls no longer tangible in this world.

The performers on stage ebb and flow…queuing up as a crackling tannoy makes flight announcements, they reappear to literally build a sandy beaches as others dressed in swimwear merges instruments with deckchairs and other beach paraphernalia and fragments of plabe wreckage. Waves lap on the projector screen and light becomes warm and sun drenched as the performers gaze out at the endless horizon. Years roll by as The Father moves from gaffes with birthday cards, confusion, terrors and rages to the inevitable loss of self. Meanwhile each day family members gather at the Malaysian Embassy in Beijing still hopeful of news of loved ones. Each reported possible cure for dementia reignites hope for families just as endless conspiracy theories continue to let individuals hold a glimmer of hope that one day they will be reunited with loved ones.

All Right. Good Night. was reportedly the last recorded words of the pilot on that fated flight. They sound eerily similar to the reassurances of a parent as they leave a child to sleep in the knowledge that the dawn of a new day reunites them. This production gently reminds us all of the fragility of life and the uncertainty that it evokes. Like this lush production it is to be cherished and fully appreciated in the moment…for that may be all any of us have, and perhaps that is ultimately enough.

Manchester International Festival. HOME 6 -8 July 2023

The Faggots And Their Friends Between Revolutions

Musical, Theatre

Music by Philip Venables

Wtiting and Direction by Ted Huffman

Based on novel by Larry Mitchell and Ned Asta

HOME

MANCHESTER INTERNATIONAL FESTIVAL

The Faggots & Their Friends Between Revolutions achieved cult status since Larry Mitchell self published in 1977. In a world where acceptance and compassion can flow generously and hopefully then quickly appear to ebb away again, this new production feels timely as LGBTQIA+ rights and safety seems to be worryingly under threat. The blending of a wide range of musical styles, instruments and voices are a carousing anthem for unity and change. A high point of this performance is Kit Green breaking the fourth wall to bring the whole audience together in song. There is a palpable sense of unified passion as everyone literally sings from the same hymn sheet. The word Faggot is cherished here and used with real love in this celebration of queerness and the revolutionary attitude to male patriarchal society required to achieve self-determination.

This is the third collaboration between Composer Philip Venables and Writer/Director Ted Huffman. This new opera commissioned by Factory International is one of the touring productions which premieres at HOME before going to festivals in France and Austria. Previous work includes a highly disturbing opera production of Sarah Kane’s 4.48 Psychosis which apparently induced panic attacks in some of the audience members. Here there is a warmth and generosity in the music that is playful and highly engaging. The Faggots are alongside the faeries, the faggatinas and the women who love women. The music here has opera sitting alongside baroque, bossa nova, and club music. Fifteen musicians, singers, dancers and actors play multiple instruments from lutes and accordions to violins and viola da gambas. The score vividly evokes the sexually charged urgency as magic cock fluid is ejaculated, the folky sense of campfire singing in a Commune and the euphoria of a drug fuelled club night.

The history of the patriarchal society is told as a subversive fairytale. This story flips the history books and slyly suggests it’s the power and paper hungry men who are the aberrations in Society and its the Faggots and their friends who are the original people. All the performers have their moment in the spotlight with some beautiful virtuoso performances. However it’s the inimitable Kit Green and dancer/choreographer Yandass who primarily tell the story. They are a perfect foil for each other with Green all laconic, fluid elegance and pithy delivery whereas Yandass is a powerhouse of taut, passionate energy.

The stage at HOME looks like a vast black box creating a wonderful sense of looking back in time and seeing these performers in a stripped back way where there are no other visual distractions…they have to be seen…and they are seen…as extraordinary, gifted and ultimately human individuals who will carry on and survive whatever Revolutions are yet to come.

HOME 28 JUNE – 2 JULY

Manchester International Festival 29 JUNE – 16 JULY

CRAVE

Small Theatres

Written by Sarah Kane

Directed by Chris Lawson

53TWO

CRAVE is the penultimate play by controversial playwright Sarah Kane. It was first performed shortly before her suicide at 28 and was dedicated to Mark Ravenshill writer of Shopping and Fucking. She was part of the 90’s movement In-Yer-Face Theatre and was known for her use of violence, unlikeable characters and shocking material. Unlike her other plays, CRAVE is written in a fragmentary style with no stage directions and 4 characters only identified by the initials A,B,C and M who may be elements of separate entities or simply aspects of one very troubled consciousness. Running at about 55 minutes, this is not an easy or comfortable watch but rather a murky and fascinating merging of cast and audience as the plays’ intensity seeps and swirls around the space. The staging in this dark, dank railway arch at 53TWO adds to the insidious horror of what can lurk in the real world and how it impacts the darker recesses of a troubled psyche.

Director Chris Lawson creates an almost prayer- like litany as his sensitive blocking allows for these fragmented beings to take form then fade off but never entirely disappear as another voice emerges. The lighting is highly effective in occasionally illuminating certain lines or characters yet sometimes plunging the stage into blackness leaving simply a disembodied voice. At times languid and poetic, then erratic and frenzied, the pacing sometimes shifts suddenly to laserlike focus such as the soliloquy by Jake Ferrettis’ A where its taut tenacity is truly haunting. Lawson has done a great job of allowing his cast to be equally vulnerable and repugnant while always utterly fascinating.

This is no mean feat for a cast dealing with sparse dialogue that is often just a single line. Although peppered with a strange sort of violent poetry, the dialogue is at times not enough in itself to fully carry and elevate this work. The cast are excellent as they give each other space and create a musicality rather like a well oiled string quartet. Always on stage, they all maintain a physicality that is arresting but never distracts from another character speaking. Matthew Heywood as B and Elizabeth Meadows as C are the younger characters and they both give raw performances vividly evoking the pain and trauma of abuse. Jake Ferretti as A is scarily intense as a moralistic paedophile whose piercing soliloquy lingers like a damp chill long after leaving the theatre. Etta Fusi as M is a study in languid regret and despair with the slow burn of her sensual physicality bringing real depth to her performance.

CRAVE asks is ecstasy just a lack of grief? This painful and ambiguous study delves into a mind at war with itself and the push pull struggle of redemptive hope against the eviserating pain of trauma and mental illness. When first performed in 1998 it was viewed as the most hopeful of Kane’s plays yet the writer saw it as the bleakest saying her earlier works were written by someone “who believed utterly in the power of love”. However it is interpreted, it is a potent reminder the power and range of human consciousness.

CRAVE was produced at 53TWO 31st May to 4th June 2023 by HER Productions