Written and developed by Busty Beatz, Lisa Fa’alafi and Yami Löfvenberg and A League of Extraordinary Femmes
Directed by Lisa Fa’alafi
There is a new hive in Manchester this week and it’s not the one on the roof of HOME. Anyone who witnessed the anarchic and joyous cabaret spectacle that was HOT BROWN HONEY when their hive landed at HOME in December 2017 will have some idea of what to expect from Hive City Legacy. This show is a collaborative project between the Australian company, their producers Quiet Riot and Roundhouse. A call out in 2018 for young British Femmes of Colour to expand the hive led to the creation of this new show. Heavily influenced by the original cabaret blend of beat box, body popping, aerial work, spoken word and burlesque, this new production zeroes in on London. Stories of matriarchy, mental health, marginalisation and harnessing the power of the Hive to once again ACTIVATE POLLINATE LIBERATE.
The staging is simple but effective creating a honeycomb effect with lighting that allows for creating office parties and commuter trains while also giving a sense of magical wonder as boxes open Pandora like to reveal snaking flags and oversized combs and tape measures. In the midst of all this is a wide eyed ingénue (Farrel Cox), drinking in the truths both joyful and distressing of being a young femme of colour in a still marginalised country.
The performances by all eight femmes are full of savvy confidence, boisterous energy, anger and poignant sadness. These femmes are in your face enraged and disturbed by a world where their history is being swallowed by your history and oceans are swallowed by puddles. There is a definite sting in the words and actions of these femmes in this hive and they are definitely all queen bees in their own right.
The segments are varied in pace and style. Ropework beautifully showcases trust and faith in each other when you quite literally put your faith on the line. Office parties teeter into violent discomfort as voices assault our senses and sensibilities with racist taunts and stereotypical assumptions. The national anthem plays alongside the snaking endless swirl of the English flag while spoken word pieces are unfueled from the mouths of these femmes.
Hive City Legacy has many of the trademark magic touches of the Mother Hive and is lovingly directed by one of its founders Lisa Fa’alafi. The joyous finale has everyone on their feet dancing with the femmes. Enough of us taking to the stage and we might just outgrow the Hive and start to truly ACTIVATE POLLINATE LIBERATE!!
Creators/Performers Liz Richardson, Josie Dale-Jones, Sam Ward, Carmel Smickersgill
I grew up by water, a green, gurgling river full of trout and salmon and Lough Erne, the Irish Lake District – 2 dark and beautifully treacherous loughs filled with islands. I love the comfort of water, especially a warm enveloping bath. For Liz Richardson and her friend Lisa comfort and solace comes in the icy shock of wild swimming. This new show takes a moving and tender look at the grieving process as Richardson introduces fellow theatre makers Josie Dale Jones and Sam Ward to wild swimming while composer Carmel Smickersgill observes them and creates an extraordinarily beautiful homage to the power of the water and the potency of grief.
SWIM combines performance with live music, video footage and a conversational style that creates a really fresh feel to this piece. There is a real sense that these performers are meeting in a collaborative process that is new to all of them and that their personal curiosity around the subject matter is geniune. This production is full of earthy humour and guileless playfulness yetthroughout their quest to explore what is involved in wild swimming, there is a haunting constant in the grieving process and that this show is not about Liz’s friend Lisa but that it for her.
The stamina, huge heart and lust for life that LizRichardson embodied in Gutted is on show once again. She takes her fellow performers and the audience on a quest to feel truly alive and to never feel apologetic for the gift of life. The filmic element of the show is both down to earth mundane and sublimely beautiful as they chatter and shiver in an estate car or float on vast lakes. The personalities and differing perspectives of the performers work well and the whole thing is drawn together by the soaring vocals of Carmel Smickersgill who creates an ethereal soundscape akin to Julee Cruise or Duritti Column.
SWIM speaks of the spiking feeling or electrifying shock to the body as it is encompassed by the icy water. It speaks of the pain as friends see each other grieve, on your face a type of joy til I’ve seen You’ve remembered again…just because you’ve enjoyed yourself doesn’t mean you’ve forgotten. In the water our bodies are reshaped just as our souls are by grief. In profound grief we often seem to lose ourselves, or the selves that we once were. In making this show for her friend Lisa, Liz is seeking a friend who is out there lost in the dark water. Regrouping, reforming repairing, still an unknown to herself and to Liz…may you both continue to journey well within the water and beyond it.
The day after I saw this show I too lost someone very dear to me. I’m still floundering in and out of the water but I won’t drown. Shows like SWIM are so important, we never know when we might need to revisit them and find solace.
This play is a genius idea by Kemp Powers. One Night in Miami literally locks the audience into Room 12 of a Miami motel on February 25th 1964. We watch 4 old friends chat about politics and life as they celebrate the success of the new World Heavyweight Boxing Champion. It’s quite a night to behold as the four friends are King of the World boxer Cassius Clay, soul singer Sam Cooke, NFL supremo Jim Brown and political activist Malcolm X. We are flies on the wall watching and listening, as are the FBI and the Nation of Islam while outside amongst the palm trees the Press are also gathering. There is only Joe Brown left alive to say exactly what did transpire that night, but Kemp has created something that feels authentic. Offering a glimpse of these men in the midst of private struggles and uncertainty that are played out alongside the thrills of public success and the darker themes of repression and segregation in Sixties America.
Designer Grace Smart has created a capsule motel room that effectively boxes in the four men as they talk privately but also works wonderfully well in recreating a boxing ring and an Auditorium stage. Lighting design by Ciarán Cunningham and sound by Max Pappenheim enhance the experience and help create the standout moments such as the boxing scene and when Sam Cooke sings. The neon sky and palm trees vividly contrast against the plain decor of the motel room, creating a perfect backdrop to the ordinary and extraordinary events unfolding in that room.
The characters on stage are vividly portrayed by the cast with fervour and passion. At times they are so full of life that the dialogue risks them becoming caricatures of themselves. Conor Glean as Cassius fizzes with energy, giddy with his success but increasingly wary of what his imminent conversion to Islam will mean. Miles Yekinni brings depth and strength as Brown as he contemplates a move from sport to the movies as a “Black action hero”. Christopher Colquhoun is convincing as the impassioned activist who clearly carries a heavy burden and is wrestling his own fears and demons.
The standout performance is Matt Henry as Sam Cooke who moves between confidence and assured charm and his fear of what may happen to his hard won success if he does indeed change his style and use his music to do more than just entertain. I would happily pay again just for the moments when he performs – he brings down the house as he brings his “Sister Flute”to his explosive rendition of You Send Me. As the play draws to a close and he tries out his new song A Change Is Gonna Come, Henry is simply sublime. Director Matthew Xia creates a moment when it truly feels like witnessing something intensely personal and genuinely moving as though we too are hearing this musical masterpiece for the very first time.
Hofesh Schechter has created a world both nightmarish and blissfully optimistic in Grand Finale. His latest work is defiant, mischievous and brutally beautiful. Part gig with a small orchestra onstage; dance and theatre merge with the same seamless fluidity that allows monolithic slabs to both create a sense of endless time and club land rave scenes. Grand Finale is both an anguished salute to lives lost in destruction and war, and two fingers held up to the doomsday predictors. The musicians are integral to the flow of the piece. Ever present though always on the move, they are formally attired and one even sports a life jacket as if to allude to the musicians who played on as Titanic sunk.
We can all dance to the same beat but sometimes we may hear a different unique beat in the same music and so we separate as individuals and respond in a myriad of ways. So it is with Grand Finale, Schechter’s dancers come together and replicate movements, their bodies harmonizing in unison and at another times they clash and jar with seemingly murderous intent.
Perhaps Schechter‘s greatest skill is in how he uses dance and music as unifiers. There is a universal commonality in the throbbing beat that seems to connect with one’s own body – the movements you see on stage can feel as though they are simultaneously experienced in your own muscle memory. Moments from rave scenes feel intensely familiar then flow into Celtic dance or Maori Haka or riotous dance to klezmer music. This is modern yet ancient, ageless and current.
The blend of sound and light by Schechter and lighting designer Tom Visser is beautiful. Beams of light illuminate upturned faces as though kissed By the sun. Grey gloomy mist can signify Dawn or the dry ice of a nightclub. At other times it seems like there is the red dust of African plains which may be the fires of Dante’s Inferno. They are glorious playful moments as hundreds of bubbles drift down like snowflakes unto the battlefields of No Man’s Land at Christmas time. Here figures dance like marionettes and later with gay abandon to Franz Lehár’s Merry Widow Waltz as worries are cast aside culminating in a chilling end piece as a pile of bodies grows at the side of the stage and is silently saluted.
Scenes start to get smaller and more specific as they fragment into tableaux scenes that echo snapchat or Instagram poses. Figures embrace, party or pray as the dance slows down and the orchestra gets softer and starts to fade. Are these open mouthed figures aghast in horror or yawning with ennui as everything changes and yet still remains the same?
Two men. A very tall ladder. A conundrum. This is of course the return of Bertrand Lesca and Nasi Voutsas as they return to HOME with ONE, the final part of a trilogy that includes the brilliant EUROHOUSE and PALMYRA. Polarisation, provocation and dogged resolve are continuing themes, played out with their particular brand of disturbingly dark clowning and winsome charm as they invite collusion from the audience. We have choices. It’s clear. We can literally throw shit at each other, remain paralyzed in time or we can take a leap of faith together and hope in a better future.
As with their previous work Bert and Nasi use elements of what maybe their own personal relationships with each other to make provocative statements about contemporary politics. A Frenchman and a Greek who met in Scotland their work is especially resonant in our world of Brexian madness. With Nasi up a very high ladder and Bert at the bottom pleading, cajoling and finally becoming threatening, I’m starting to feel worried and rightly so. I’m worried about Nasi and Bert. I’m worried about relationships in general. I’m worried about the Northern Ireland border. I’m worried about Brexit. I’m worried about world peace… Nasi is still up the ladder. Bert is playing Imagine by John Lennon. Bert is imploring the audience for assistance.
Finally they sit at either end of a table. They could be a couple trying to resolve their differences at the kitchen table or they may be politicians in a boardroom either way there is both a reluctance to engage or to walk away.The push-pull of a relationship at breaking point is being played out and the ramifications of what will happen if one of them leaves or stays brutally apparent. Bert’s message is clear – I can leave but if I do I won’t be silenced I will be a thorn In your side. I will not just disappear.
Lesca and Voutsas are masters of their art. Their sense of comic timing, pathos and charm are reminiscent of another age – and double acts like Laurel and Hardy, yet their work is sharply focused on modern issues. With a skillful use of simply staying in a moment of stillness to create a protracted discomfort or ramp up tension, they create complex productions with the apparence of absolute simplicity.
Their childlike bickering has the sinister undertones of politicians shouting each other down in parliament. As they invite the audience to collude as in previous shows we can choose to encourage an act of destruction, stay in a cycle off unremitting paralysis or take a leap of Faith and engage in the possibility of a better future. It would of course seem like a no-brainer but three show in for them and no sign of a Brexit solution for us, then like Nasi and Bert I’m still hopeful but I’m getting tired too.
Shakespeare’s tale of the “undigested and deformed lump” that is his Richard III is considerably tweaked in this version by John Haidor for Headlong. Here we see a man more emotionally stunted than physically restricted by his disability. Tom Mothersdale delivers a Richard whose twisted body is as fluid as his nature is mercurial. The hall of mirrors that dominates the set serves as judge and jury to Richard’s lack of conscience and reflects back to the audience as a means of drawing us into this tale of political greed, narcissistic ambition and false news.
Mothersdale manages to repulse and charm in equal measure. His capacity for brutal acts and honeyed words is that of a true sociopath or charming manipulator. Moments of visceral violence as he bites his victims with the suddenness of a deadly spider sit uncomfortably alongside humour as he mischievously addresses the audience close up or prances with a makeshift crown like a gleeful child ransacking the dressing up trunk. For all his cunning and remorseless violence there is the vulnerability of a child who recognizes his mother is ashamed of his twisted body and repulsed by his twisted nature. Director Haidar ensures that we see this wounded child who has long ago decided that if he cannot have the love and admiration of others, he will command their hate and fear. Mothersdale captivates throughout in what is a truly demanding role. Rarely off stage he is never less than electrifying especially in the second act when demented by jeering ghosts he sees his fleeting success melt away on the battlefield. Bloodied and mud stained he smears mud across the reflected ghosts as if to wipe out any hint of his own wrongdoings.
Chiara Stephenson has designed a set that is gloomy and forbidding in its grey ramparts and dungeons but cut through with reflective mirrored archways. These arches allow actors to move rapidly between scenes while also creating depth to the set as the ghosts appears behind them and the audience is reflected in them looking at ourselves just as Richard examines himself in these multiple looking glasses.
Haidar makes use of every possible dramatic element that can be drawn from this gothic castle. Stony grey yet pulsating with life and bloodied by death this is a building that echoes its history in every mirrored arch reflecting lives once there and now just ghosts in the fabric of the building. The use of light and sound by Elliot Griggs and George Dennis provide striking flourishes that give the murders and battles scenes slashes of colour and sound that evoke video game violence- perhaps to suggest Richards own childlike lack of awareness of the real consequences of his actions. If at times elements appear overplayed or exaggerated they encapsulate Shakespeare’s original exaggeration of the real man. Whether you love it or not the impact of the attention seeking design elements and directorial flourishes are as in your face as Richard himself.
This feels a very fresh and timely revisiting of RichardIII. There is a truly monstrous quality to this character in his relentless quest for political power. The wily cunning off an ambitious man who exalts in having neither pity love or fear is a chilling reminder of some of our politicians who make decisions for us based on their own fragile narcissistic egos and lust for power. Like Richard they strut across the world stage daring us, the audience, in how much we will allow them to destroy before we revolt and them down. Personally there are quite a few political anti heroes I would love to see buried under a carpark in Leicester!
Created by ÀlexSerrano, Pau Palacios, and Ferran Dordol
Agrupación Señor Serrano
HOME has a marvellous flair for showcasing pieces of theatre that excite and assault the senses. KINGDOM is a perfect example of irreverent, loud and brilliantly clever theatre that ramps up the energy and has a theatre audience feel like they have just come out of a hi-energy gig. Co-produced by HOME this UK premiere of this Señor Serrano show is a fabulous and fruity part of the 25th VIVA! Festival.
Staged with long tables of archaeological or architectural like exhibits, alongside fruits, foliage, booze and fags with chain smoking macho men in front of a giant projection screen. The performers’ casual demeanor suggests no rush to even start the show yet the overall effect is gripping. Before anything even happens all eyes are on the stage attempting to drink in all the props and their possible uses.
This is a story of the cycle of demand, consumption, crises and insatiable desire. The history of the humble banana, its discovery by Minor Cooper Keith in 1876 and its introduction to the Western world and subsequent growth as a plantation crop leading to overproduction, crop blight and world financial crises. The growth of the banana from fruit to iconic superfood, mans’ fascination with King Kong and machismo are threaded through the growth of capitalism and consumerism. So many ideas and concepts packed into a one hour show should produce an scrambled mess yet somehow what emerges is thought provoking and energizing.
Using a unique blend of video, performance, scale models,dance and live music Señor Serrano are masters of their craft – creating cinema-in-real-time. The skill and artistry and nonchalant ease with which they intricately film tiny models of railroads and bananas highlighting the onward march of consumer greed. The impudent glee as a human hand starts moving into the footage or a performer sprays himself with a plant mister to appear sweaty in the jungle foliage. Old newspaper covers with moving film images in the columns and TIME magazine covering celebrating everyone from King Kong to Hitler, Tarzan and JFK. Every tiny movement is meticulously accounted for yet simultaneously these performers are playing instruments and dancing around with infectious energy.
The result is phenomenal as this tale of greed and disaster grows so too does the energy and pace of this piece. By the end the stage is filled with more bare chested posturing macho men dancing to an ever louder beat as confetti cannons shoot euros into the audience. Is this theatre or a utterly brilliant night on Canal Street? It’s certainly memorable and as we are repeatedly told, Estamos bien, estamos bien.