The Fishermen

HOME

Written by Chigozie Obioma

Adapted by Gbolahan Obisesan

Directed by Jack McNamara

This new play is deftly adapted for the stage by Gbolahan Obisesan. It is an impressive feat to so effectively condense a 300 page epic book filled with rich, colourful characters into a two-hander play. Under the skilful and passionate direction of Jack McNamara it becomes a triumph and absolute joy to behold. The innocence of boyhood and filial loyalty is portrayed alongside the bloody horrors of a descent into madness, murder and mayhem that eventually culminates in a sense of fortitude and redemption. This is story telling at its very best, drawing you in and staying with you long after you leave the theatre.

The two actors give a tightly choreographed performance that keenly evokes the familiarity of brotherly bonds. The two youngest brothers of the Agwu family are reconnecting for the first time in eight years and Michael Ajao as Ben and Valentine Olukoga bring their acting “A” game, all hopeful yearning and bruised wariness. What follows is their recalling of their childhood in a stable family unit with ambitious parents, big brothers, football, fishing and village life in Nineties Nigeria. Fracturing this idyll like the spikes of the metal poles cutting through the stage, is the horror of a prophecy from a local madman which plunged their world into a Shakespearean tragedy.

Ajao and Olukoga channel the rest of their parents and brothers, the madman Abula, the meddling nosy neighbour and even the chickens and fish. All are brought to life on stage with a fluidity and energy that seems inexhaustible. Both actors inhabit each role with ease. Olukoga has all the stubbornness and mischief of a 10 year old, the bluster and patriarchal confidence of a man who sired four sons destined for success, yet can suddenly vividly evoke a flustered chicken in a coop. Ajao can physically transform from sweet young boy to an embittered, traumatised youth, then undergoing metamorphosis into his indignant, bossy mother and later descending into her grief stricken madness. He can delight when twitching and jerking as a fish on the riverbank and truly terrify and chill as he delivers the doom laden prophecy of Abula.

The set design by Amelia Jane Hankin works wonderfully. The simple dais cut through by the actual river is symbolic of past and present, and of the living and the dead. Metal poles are props but also stakes running through this river of blood and through the hearts of this family and symbolic of the lost promise of Nigeria itself. The combination of lighting by Amy Mae and sound by Adam McCready ramp up the drama in the narrative creating a sense palpable tension as they pulsate in time to the actor’s movements on stage. They create a stop/start dance of violence with startling intensity but also evoke the peaceful idyll of the moonlit night surrounded by the chirp of crickets.

The Fishermen is a truly intimate theatre experience that explores both the strength of familial relationships and the vulnerability that runs through every family. The tragedy of Agwu family is epic and the stuff of nightmares, yet scratch the surface of any family and the ghosts that appear may be also be bruised and bloody. Theirs is a story of Shakespearean proportions with children at the core of violence; it is a sobering thought that just this month 180 traumatized child soldiers from the Boka Haram were returned to the care of Nigeria and The United Nations.

HOME 19th – 28th July

Edinburgh Festival in August

New Perspectives

THE DUKE

HOME

Written and Performed by Shôn Dale-Jones

Storytelling predates writing as a human tool for relating to each other. It teaches listening, respect and empathy while assisting us in how we learn by connecting information to our emotions. We are living in a ever more noisy world of deadly conflicts, information overload from social media trivia and obsessive consumerism threatening our environment. It is easy to feel discombobulated and helpless to make any worthwhile changes in our world. In using this pared back medium Shôn Dale-Jones Artistic Director of Hoipolloi is weaving stories blending fantasy and reality to provoke and effect social change.

THE DUKE is his second show to win a Fringe First at Edinburgh and has also been Play of the Week on BBC Radio 4. This gentle tale weaves a family story of a porcelain ornament and what it represents in the grieving process, with the madness of American marketing crushing artistic merit, and the reality of the refugee crisis robbing vulnerable children of the safety of home and family.

It could be a worthy and rather preachy tale of “haves” and “have nots” or a madcap story of bonkers Welsh “characters”. Instead Dale-Jones engages with the audience with charm and warmth from the moment he enters the space until he shakes hands with everyone as they leave. The picture he paints balances playful with poignant and although it is never clear how much is fact based what always shines through is the performer’s committment and investment in relationships.

The relationship between him and his parents is charming and deeply touching. For any of us impacted by grief there is a real truth in valuing a remaining parent and having an acute awareness that time is precious in all significant relationships. The emotional connection with refugee children comes from an empathic place where perhaps we can only truly value family when we know what is to experience loss.

His relationship with his work also tells the story of someone who passionately cares about creating work that has truth and merit. The story also highlights how tempting it can be to sell out for hard cash and larger audiences but how hard it is to maintain artistic control of your work without having it dilluted to appeal to a wider audience or to appease the investors.

THE DUKE is tender, whimsical and thought provoking. There are no hi-tech distractions just a man sitting at a desk talking and playing snatches of some great Northern Soul. It’s genius lies in it’s apparent simplicity. In vividly evoking small moments of genuine connection between Dale-Jones and his family, it is impossible not to connect and reflect on the plight of refugee families. In scaling down to the micro it feels more possible to imagine reaĺly effecting change that helps than when overwhelmed by the the global scale of this issue. It is heartening to know how much money THE DUKE has already raised for Save The Children.

HOME 6-7 June

The Marriage of Kim K

Music by Stephen Hyde

Libretto by Leoe Hyde

53Two

real live actual couple sit on a sofa drinking wine and bickering over what to watch on telly. A string quartet and a barefoot keyboard player play Mozart. It could be Gogglebox The Opera. Indeed it might have been if Leoe &  Hyde had thought of it.

Instead these intrepid boys weave centuries old opera with popular celebrity culture. The Marriage of Figaro meets A marriage of Kim Kardashian. This should be a car crash affair of which the least said the better. Thankfully the end result is fresh, fun and really rather clever.

The music moves well between genres and sounds great. Echo Chamber are a talented bunch who I heard earlier this year at a MIF17 Festival in my Home. The overall impact is polished and impressive. The piece would really shine in a larger venue to allow for better acoustics for such a big sound

The staging is very effective with the central sofa and telly creating the focus of the piece. If we use populist reality docusoaps as a means of escape are we just relaxing or are we disengaging from our lives? 

Real life couple Amelia and Stephen may or may not squabble over the remote control in private but like most couples they will sometimes stop listening with their hearts because their heads are full of stressful thoughts.

When all 3 couples occupy the stage the performance is at times sublime and surreal. It can also frustrate as clever lines get lost as couples are singing over each other. This works as a device to demonstrate the cacophony of our modern media obsessed world but at times detracts from some fine performances. 

Visually it’s fab and frothy. The central couple are authentic and well developed with Amelia Gabriel giving a standout performance. Kim and Kris are suitably trashy and raunchy and played with OTT relish- great fun. The Count and Countess look and sound stunning, and the costumes are fabulous. The attention to detail is really impressive and adds real depth to how the show looks on stage.

By combining Kim Kardashian and Kris Humphries 72 day lovefest/marital car crash with the Count and Countess in The Marriage of Figaro we see nothing really changes. Two hundred plus years on we still fall in love, we still disappoint and are disappointed. We will always have lavish peacocks and steadfast wrens. The music may vary but at its heart the beat remains the same.

Showing July 3,4,10,11,15,16,17 July

Moving to Edinburgh Fringe