PATIENT 4620

Written and directed by Victoria Snaith

The Crypt, St Phillips, Salford

Saturday lunchtime is as good a time as any for a wander around a pitch black church crypt doubling up as a contemporary art museum and a mental hospital. Donning headphones and entering the exhibition Director Victoria Snaith is charmingly optimistic about the experience though does warn us all to not fiddle with the controls and watch our heads on the low arches in the gloomy but rather dreamy crypt.

Wandering around the exhibition we learn about the fragile 1920s artist Gretel Sauerbrot and her alcoholic brother Hansel. It quickly becomes clear that these are two seriously damaged individuals but by WW1 or something more unworldly…even more unspeakably horrible? Are the clues in the art itself or perhaps in what we hear as museum recording and something more sinister start to overlap?

Things are going swimmingly so far with a delicious hint of impending dénouement and horror beckoning round the next dark corner. Then suddenly the mood fractures with the appearance of a rather unorthodox psychiatrist (Robb Wildash) who may well be an wandering patient- and if he isn’t he certainly should be. One should never introduce oneself with a description of how you castrated yourself in a forest and then attempt to medicate your stunned patients with skittles and lemon drops without checking if they are diabetic.

There are some moments of genuine discomfort and potential scare. However this is a piece of immersive theatre that sadly loses pace as it shifts from auditory storytelling into theatre. The room I was waiting for never materialized and I felt entertained but strangely cheated by never catching a real glimpse of the crazed and tragic Gretel in this thoughtful twist on the famous folk tale.

Dreadfalls Theatre. Manchester Fringe 5th-6th July 2019

WHEN IT BREAKS IT BURNS

Created/Performed by ColetivA Ocupação

Directed by Martha Kiss Perrone

CONTACT

Moss Side Millennium Powerhouse

ColetivA Ocupação are the real deal in every sense. Performers, creatives, activists, educators who vividly bring to life their personal experiences of occupying their schools in São Paulo to protest the Brazilian government’s proposed decimation of educational resources in 2015/2016. They are full of exuberance and boisterous passion and their mantra is “to occupy is to resist.”

Massing in the garden courtyard of Millennium Powerhouse the audience is suddenly led into a gym hall where chairs are scattered through the space and some are already occupied. Music, lighting and the intensity of the seated performers ramp up the sense of unease and palpable tension. As the action flares up it is clear that this is no easy ride sitting in a theatre observing a performance. The choreography ensures the audience members are in the thick of the action and occasionally at physical risk of the odd bruise. This is an intense immersive experience that feels utterly authentic and at times genuinely both scary and exhilarating.

Recreating what it was like to scale the walls Diadama School in 2015 they create a human wall which each triumphantly scales. As an audience we get to witness their excitement, their bravery and their fears as police surround the schools and many are dragged off. These were children, young people chasing police intimidation, beatings and tear gas. As they later talk to us in small groups recalling personal experiences it is clear that these vibrant young people have lived through life-changing experiences.

The sheer physicality of this performance and its riotous risk taking evokes passion and sheer admiration at its bravery and its hope. As we are moved off chairs and jostled as they creates barricades and banners these performers are setting alight a real desire to harness that youthful passion and make change happen. Whether it is in schools in Brazil or it is Environmental protests across the world…

Let’s occupy the schools. Let’s occupy the streets. Let’s occupy the theatres. Let’s occupy everything.

CONTACT 8th/9th May 2019

ColectivA Ocupação

Part of Resistance in Residence, a British Council programme.
A collaboration between Contact and Transform.
Made with support from Casa do Povo, Forma Certa and Converse.
Supported by British Council and The University of Manchester.
Image credit: Mayra Azzi

Off the Grid

Waterside, Sale

Written by David Lane

Directed by Chris Elwell

Off the Grid is an immersive play written by David Lane for children’s theatre specialists Half Moon. It looks at the very real issue of what happens when our children and young people fall outside of the social care system and find themselves living “off the grid”.

The stage design by Chris Elwell does an effective job of immersing the audience in this story and ensures none of us stay comfortable and settled in our seats of choice. Like the two main protagonists in this story we are never quite certain of a place to be. The metal grids ensure stark minimalism but also store the props that help drive the narrative. The constant shifts in this piece work well and never create confusion for an audience who may not all be familiar with immersive theatre.

The story of abandoned children, Connor and his little sister Kelly, exactly 10 years younger could be unrelentingly bleak. Sensitive writing and strong performances from Bradley Connor and Jesse Bateson ensure there is plenty of shades in this production. The blend of pathos and desperation is balanced by the children’s capacity for magical thinking. Connor creates a rich internal world that cloaks them both in safer, more hopeful existence as a buffer between them and the harsh reality of their plight.

Bradley Connor gives an intense and impassioned performance. He has a capacity to both enthrall with his storytelling and to petrify as his little sister becomes an obstacle to his own burgeoning needs. He is adept at moving through the space and connecting with the audience in a very potent manner. Jesse Bateson rises to the challenge of conveying her character as a very young child and as a teenager. There is skill and confidence in her performance and she brings real charm and innocence to the role of Kelly.

Running a psychotherapy practice I have encountered a number of adults who have had not too similar childhoods to Kelly and Connor. This production tells an important story that unfortunately is only too true in our current Society. Half Moon have produced a work that is socially and politically relevant and which resonates on a personal level. This is the kind of storytelling in Theatre that makes funding for the Arts so important, and makes attending theatre so rewarding and informing.

On tour

Images by Stephen Beeny

The Siege of Christmas 


CONTACT
Directed by Alan Lane

Contact Young Company

CONTACT AND SLUNG LOW

Having just seen a big, high octane pantomime earlier this week I was curious as to see how Contact Young Company (CYC) would  approach a Christmas family show. Under the direction of Alan Lane from the wonderful Leeds based Slung Low this was Christmas entertainment at its magical best. 

This promenade performance starts in the foyer as everyone dons headphones which serve to immerse everyone in the performance as it feels like we are all on an Nutcracker Army comms exercise or a festive Mission Impossible!!

Despite the reassuring tone of Dan the Front of House manager there is clearly something seriously amiss at CONTACT. The building has been taken over by some seriously grouchy mince pies and the spirit of Christmas is under siege trapped somewhere in the building we are now locked out off.

What’s more the snow has focused all it’s fall just by the foyer and things are getting a bit chilly. Thank heavens that there is a sudden appearance from a tooled up, highly skilled ninja-like Nutcracker toy soldier who is in search of helpers to save the spirit of Christmas. Sneaking us in via a back door we creep through the darkened with our youngest soldier proudly clutching the remnants of our vital map. This production brilliantly uses the technique of splitting up the audience on the promenade parts to ensure everyone will access needs is included and involved at every stage.

Once inside we encounter a range of magical characters battling their misgivings about Christmas. Elf-like despondent toymakers, sulky teenage fairies who have mislaid their fairy dust, a melting showgirl in a globe  and disheartened life size crackers who can’t pull and feisty rapping  Xmas wrap which has somehow come alive.  

This mission teaches its audience many useful life skills such as how to do the nutcracker freeze , how to custard creep, and how to stop a snow globe from over heating in a building set at a constant 28 degrees. Most importantly of course it reminds us of kindness, co-operation and empathy in an often unequal, unfair World.

All the cast act their wings off and children and adults alike are spellbound by the unfolding scenes. This show makes glorious use of the simple things we associate with Christmas- crackers, twinkling lights, glitter, snowflakes and silly festive jumpers. By the time we have crept through the building gathering resources for our final siege I defy anyone to not feel touched, a little bit humbled and a whole lot more in the mood for Christmas. 

This is a perfect final show for CONTACT as it highlights it’s focus on young people while allowing theatre lovers to say goodbye to a much loved building before it closes its doors for an exciting new rebuilding and refurbishment  programme in 2018. Christmas is looking sparkly and the future of CONTACT is looking bright. 

At CONTACT until Dec 20th

The Last Testament of Lillian Bilocca

Written by Maxine Peake

Directed by Sarah Frankcom and Imogen Knight

Created by Maxine Peake for Hull Truck Theatre and Uk City of Culture this is an unforgettable march through the corridors of power walking in the shabby down at heel shoes of the leader of the Headscarf revolutionaries Lillian Bilocca.

It celebrates the determination and fortitude of a group of working class woman who nearly 40 years ago “achieved more in six weeks than the politicians and trade unions have in years” The tightknit community around Hessle Road were all connected to the fishing industry. In early 1968 three trawlers were lost at sea with a loss of 58 men over 26 days. It was the woman as wives, mothers, sisters, lovers who rose up and said “enough is enough.” Led by Lillian they gathered 10,000 signatures and stormed the offices of the trawler owners and went to parliament to meet the then Prime Minister Harold Wilson. The result changed the shipping laws and The Fisherman‘s Charter saved countless lives in the fishing industry.

Sarah Frankcom and Imogen have done a wonderful job in the The Guild Hall to bring realise this ambitious promenade performance. A live folk band courtesy of the wonderful Adrian McNally and The Unthanks are in full swing at The Silver Cod Ball. The stuffy ornately dressed couples move stiffly round the dance floor as we watch them celebrate the spoils of the trawler industry.

The arrival of Helen Carter as Lillian is the first sign of real life in this grand reception room. Clad in shabby shoes with a neat buttoned up blue coat and a matching chiffon headscarf she reminds me of early memories of my own mother. She too campaigned on a social issue and refused to be silenced and also met a government minister to have a statute changed. It is a very powerful emotional moment making that sudden connection with my own strong, bolshy mother. As more strong women from The Hessle Road Womens Committee appear the energy continues to build.
The arrival of The Three Day Millionaires brings testosterone, Brylcreem and Old Spice. The dance floor becomes the local pub and suddenly there is lust and life and love and fisticuffs as the booze flows. This is a vivid snapshot of men home for three days who have been spared an icy drowning and are reunited with their womenfolk. A temporary relief from knawing fear of death and a fistfull of cash is a heady cocktail.

The promenade takes us through the corridors of power where endless portraits of men of power stare down at us. We pass women thanking us for our support and enter a Council boardroom with Yvonne Blenkinsop played by Katherine Pearce holding the hand of her young son. Standing on the table she summons up the experience of waiting, worrying and grieving. As each woman steps forward to tell their story it reinforces the sense of what drove these ordinary woman to step up and do something extraordinary.

Subsequent scenes evoke the dead and dying men swathed in icy fog. Pleading, wild eyed and clammy with desperation they are a ghostly tableau. The main council chamber is dimly lit by tealights burning in mismatched teacups – possibly a light to represent each of the 58 men lost? At the centre is a haunting set comprised of a simple kitchen sink unit and a formica table. As we listen with headphones to a soundtrack of a storm and its aftermath we watch a snapshot of acute loss. A woman seeks the smell of her dead husband in his last white shirt. Later she dons the soaking wet garment and stands dripping like a lost siren of the sea.

The grand dinner at The Silver Cod Ball seats the audience at the dinner tables with the trawler owners at the top table. Stony faced, stony hearted and stony earred to the pleas of the women they look on with disdain at these earthy, passionate requests. The silver cod is like a coffin filled with blood money, and Lillian approaches me with a crumpled handful of banknotes asking “Is this what our men are worth?” Strident, rough edged and ardent these women shocked and shamed many of their own men by their actions. It was a bittersweet success as Lillian Bilocca was blacklisted and never worked in the industry again.

The final scenes of this production are stunningly effective and incredibly moving. The original music by The Unthanks for this production is sublime and gorgeous. It is a fitting end to hear the echo of exquisite voices fade away like waves on an ebbing tide. Unforgettable.

The Guild Hall, Hull 3-18 November

Hull Truck Theatre

Photographs by Andrew Billington.

The Value of Nothing 

Waterside Arts Centre, Sale

Written by Kim Wiltshire 

Directed  by Joyce Branagh

This is a very slick looking production. Right from the point at which we are escorted upstairs to the oak panelled conference room by smiling staff clad in Artworks t-shirts this feels like a genuine launch of something – be it an organisation or a new play!

On entering the space I am asked who I am and given an appropriate file enclosing a pertinent question or statement relevant to the production. I am a journalist from The Guardian and have a rather probing question for the man of the moment Mr Vince Hill. The tightly packed rows of corporate  chairs, the big screen, the glossy company billboards and the hospitality areas all look very authentic. 

The staging effectively takes the audience backstage as observers of the seedy reality behind this glossy launch event but also has us participate front of stage as a theatre audience, and as the participants, business representatives and journalists here for the launch. 

As Vince makes his rockstar entrance moving through the audience  giving high fives and randomly touching people it all starts to feel a little unpleasant. He is the face of Artworks here to prove that Artworks because Art Works.  He is ably supported by his shallow and ruthless companion Michelle who has a skin as thick as the leather on her expensive handbag. Clearly what has started out as a well meaning grassroots projects has been hijacked as a money making vanity project.

We hear from participants of the Artworks scheme who are keen to state they are artists not scallies.  We see videos of well wishers including Councillor Smethurst who successfully nominated Artworks for a Pride of Bolton Award. There are short films from an unemployment workshop with interviews from participants. There is a growing sense that the numbers don’t add up and Artworks is not going to eradicate poverty and unemployment.

Moving on to the staged questions from the audience as potential investor businesses and as zealous members of the press, here the action unravels slightly. The Value of Nothing hints at being both site specific and immersive yet although visually this works it felt disappointing being in the audience when statements and questions did not facilitate any further involvement. This stilted the energy and stopped the performance really getting to grips with the political issues it aims to address.

There are some strong performances from Curtis Cole as the real deal Mikey and the always excellent Samantha Siddall as the gritty mum to be who loves Vince but is not fooled by this con masquerading as social enterprise. Their scenes are the most cohesive and Mikey’s verbal annilhilation and actual devouring  of the class divided hospitality buffet is inspired.

This is a performance with a genuine social conscience which seeks to address some major issues around unemployment, poverty and the opportunities open to us dependent on social class and education. It certainly provides food for thought – and custard creams. 

Cotton Panic!

Upper Campfield Market

Created by Jane Horrocks Nick Vivian and Wrangler

The old Victorian market space works perfectly as a space for a gig or for an immersive theatre piece. Giant screens either side of the stage project ephemeral images interspersed with close ups of actress and activist Glenda Jackson and other storytellers. On stage is the tiny and feisty Jane Horrocks fizzing with passion and energy. Behind her is a translucent screen projecting  more images and seemingly super-imposed behind that is the band Wrangler  and their analogue synthesizers.

A mix of folk music and clog dancing blend into tracks such as Billie Holidays “Strange Fruit” and Grace Jones “Slave to the Rhythm” with synth music and story telling of the poverty and political struggle weave together to celebrate our working class heritage in the North West.

Walking through the space feels exciting and quite special. The sense of urgency and energy is intoxicating and moving sporadically from the back of the space I soon find myself front of stage. Watching Horrocks’s character descend into wretched poverty and dependency on the kindness of others is a sharp reminder of the problems inherent in misinformed aid assistance. How often do we make assumptions about the needs of others? When we buy a homeless stranger a sandwich do we check first if they are vegetarian or gluten-intolerant or do we simply expect their gratitude? If we give money for aid do we want to meet a specific need or one which we feel is appropriate? 

This is the story of the cotton industry in Lancashire from riches to rags in the industrial carnage that arose from the American Civil War (1861-1865). It is a timely reminder of how any growing economy is intensely vulnerable to over dependency on a single commodity. The lack of cotton arriving in the 1870s crippled Lancashire and created mass unemployment and poverty. It would be good to think we have learned valuable lessons from our social and economic history yet sadly we continue to waste valuable resources and make poor electoral decisions such as Brexit.

Emerging from this performance into the evening sunshine on Deansgate many of the crowd dispersed to nearby bars and restaurants. A lovely way to end a sociable evening. Perhaps the sobering thought being in a coffee or wine shortage how quickly would we be inconvenienced or potentially economically ruined?

Lancashire Cotton Failure

Manchester austerity and homelessness 

Ethics and Aid
Potential impact on Manchester of Brexit