Written by Kemp Powers
Directed by Matthew Xia
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.
HOME 2nd – 5th July 2019
Images by Richard Hubert Smith
Choreography and Music by Hofesh Schechter
Performed by Hofesh Schechter Company
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?
Grand Finale 22nd – 25th May 2019
Hofesh Schechter Company
Images by Rahi Rezvani
Bertrand Lasca and Nasi Voutsas
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.
HOME Wed 8th – Fri 10th May 2019
Bert and Nasi
Written by William Shakespeare
Directed by John Haidar
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 Richard III. 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!
HOME 30 April – 4 May 2019
Images by Marc Brenner
Created by Àlex Serrano, 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.
HOME 9th – 13th April 2019
Images by Vicenç Viaplana
Created by Sleepwalk Collective
Performed by iara Solano Arana and Nhung Dang
The Spanish/British company Sleepwalk Collective turn the spotlight on celebrity culture with a coolly elegant discourse on opera and our modern value system. Following on from their 2016 ballet Kim Kardashian and the 2017 stage play Khloé Kardashian, this production continues to explore the increasing dissonance in our lives as technology and rampant consumerism moves us further and further away from real lived experiences and closer to a point where even our humanity can be outsourced.
This production looks and sounds gorgeous. Lush lighting and a soundscape of opera and birdsong by Sammy Metcalfe which emanates from speakers adorned with gold bows to match the dramatic gold gowns of the elegantly, beautiful performers. There are tiny horses, and caskets of gold leaf to be eaten and washed down with flutes of champagne. This is an extraordinary night for us – the golden people, the elite, the intelligentsia. And yet, all is not as it seems, instead this is a deconstruction of the Opera, of Celebrity and of us the audience. The gleaming gold evening dresses are made of emergency blankets. The Arias are not sung by the performers instead it is a recording of their parents in 1992. Chillingly the audience are warned that they are no longer necessary, we can be outsourced and replaced by canned laughter.
Wonderfully strange and seductive, there is a real sense of Sleepwalk Collective taking their audience deep into a dream sequence where opera stage meets lecture theatre in a world that is decidedly that of David Lynch. Dead eyed and nihilistic it could be Laura Palmer on stage instead of Iara Solano Arana. The imposed mental haziness of this production may not be for everyone, but the discombobulation is highly effective. The invitation to wake up from the dream of vacuous existence is potent. The warning of a wolf riding a tsunami and the ghosts caught up in the machine are uncomfortable reminders of who we are and what may become of us if we continue to ignore the lessons of the past. This Spanish/British collaboration of big dreamers are inviting us the “intelligentsia” to learn from when Rome burned or Pompeii vanished. This is a joke worn horribly thin…
At HOME 7th – 9th March 2019
Images by IsasiFoto
By Angela Carter
Adapted and Directed by Emma Rice
An Old Vic and Wise Children production
Wise Children is the first production from Emma Rice’s new company, also named Wise Children. Eagerly awaited after her huge success at Kneehigh Theatre and her departure from Shakespeare’s Globe; this production packs a hefty punch of gleeful mischief and playful exuberance. A huge fan of Angela Carter’s magical realism, Rice clearly delights in bringing this sprawling tale to the stage. It is a love letter to the theatre, to family, to Shakespeare and to growing old disgracefully.
Just like the characters depicted on stage, the stage design and costumes are teaming with vivid colour and layers of detail. Designer Vicki Mortimer has created a magical world that centres around a delightfully retro caravan that encapsulates the life and the history of Nora and Dora Chance. Ever present and ever changing it is a treasure trove that excites and enthralls with each reveal. The costumes are beautifully detailed and bring alive not just a history of theatre on stage but a history of life running through two world wars.
The actors on stage act, sing, dance, play instruments and use puppetry with all the enthusiasm and flair one might expect of the vaudevillian theatre era they are celebrating. This is an incredibly talented and generous cast that look like they are having a blast onstage. The story has the characters aging through 100 years of this theatrical dynasty using a blend of puppetry to actors of different ages, sexes and ethnicities to represent all the twins. Playfully alluding to Shakespeare’s love of switching the sexes in so many roles, Rice also demonstrates that the ageing process comes to all of us and what we look like on the surface is eventually irrelevant in this carnival of life.
The choreography by Etta Murfitt blends slick dance routines with circus gymnastics while the sex scenes are an earthy mix of outrageous smut and joyous tenderness. The musical numbers range from Sinatra to The Andrews Sisters to Eddy Grant and Cyndi Lauper. Each track chosen, perfectly encapsulates a scene and its era. There are some beautiful vocals particularly on the more poignant numbers.
This sprawling tale flows like the champagne and stout so frequently imbibed as it moves north and south of The Thames and front and back of stage guzzling up life events both sublime and agonising. Carter and Rice are both true wise children as they share the capacity to capture tiny moments and shine a light on them that is both hyper real and magical.
At HOME 26 Feb – 2 March 2019
Images by Steve Tanner
Written and Performed by David Judge
Directed by Hannah Tyrell-Pinder
A Box of Tricks production
Sparkplug had its World premiere on Valentines day when we celebrate idealized love. This new work by David Judge is a true celebration of the complexity of love, race and family. At times tender and compassionate, it also bravely highlights personal experience of the achingly painful racist abuse that is still so ingrained in such a multi-cultural city as Manchester. This is a story of imperfect people in difficult circumstances whose bonds of love are built on something stronger than genetics or skin colour.
This is a very personal story from writer and actor David Judge drawing on his own experience of growing up with a white Mum and Dad from Wythenshawe while being the genetic son of a black man from Moss Side. Judge vividly invokes the family life of his father Dave as a young man driving his Capri around South Manchester while listening to Rod Stewart and dreaming of a relationship with his sister Angela’s best friend Joanne. The love affair that unfolds is messy but very real. Boy gets the girl but she is pregnant with someone else’s baby. The new parents struggle like any new parents but with the added difficulty of being white parents with a brown baby in a community where even grandparents can’t stand the skin he sleeps in. Add an eventual relationship breakdown, the news that Joanne is in a lesbian relationship and that the overwhelmed parents ask their child to choose which parent he stays with. High drama indeed but also the grittiness of real people in real situations that are complex and unsanitised.
David Judge is wonderful to watch, he brings grace and delicacy to the poetry of this piece, while being equally able to make an audience palpably uncomfortable with the racism and homophobia that run through the veins of this story. He has a quicksilver ability to move between characters, each vividly drawn and instantly recognisable. The staccato delivery of words used like punches in a scene of rage, frustration and despair sit alongside the tenderness of a young man’s love for his son that is never shaken by the ignorance in his local community.
The set design by Katie Scott works really well. The bones of a car come alive to create a sense of eras in this family as the vehicle morphs from Capri to Fiat 126 to Sierra and back. The garage settings evokes the memories of family history complete with childhood toys and its soundtrack of Rod Stewart and Micheal Jackson encapsulate that home in Wythenshawe a world away from Moss Side.
Overall this is a really impressive production. I saw Judges’ performance as Pete in The Kitchen Sink at Oldham Coliseum last year and it was really memorable so it’s a pleasure to see him centre stage. As a play it flows well though would benefit from a little editing and more character clarity towards the end. Overall it is a production that sparks debate about identity and how we see ourselves and how that is impacted by those around us. What stayed with me after the the show was the strong bond between young men and their cars, how perhaps we freely choose identity through the car we drive rather than how we are often shoehorned into an identity by the skin we walk in.
HOME 13-23 February 2019
Images by Alex Mead, Decoy Media
Written & Directed by Suzanne Andrade
Film & Animation by Paul Barritt
Music by Lillian Henley
There is nothing remotely “little” about the technical skill and artistic merit of what 1927 call “our little show”. The Animals and Children took to the Streets is a dark, cautionary tale cleverly combining story-telling with animation, performance and live music in an almost magically seamless manner. Performers and animated children and animals blend together to create a visual theatrical spectacle that is part graphic novel/part Pop-Up or Lift the flap children’s book.
The inhabitants of The Bayou Mansions on Red Herring Street are a disparate bunch of dissolute characters ranging from a man living with his horse, to another who sniffs women’s bicycle seats, to a 21 year old granny and pirate Zelda who leads one of the many gangs of children roaming the neighbourhood. Into the mix comes the pure hearted Agnes who arrives with her sweet little daughter Evie; hoping to save the local children with love and découpage. This naivety to the scale of the problem of children reared on vodka, borscht and tears ensures there will be no fairy tale ending to this particular story.
The story here is simple, but its brilliance lies in the stylistic delivery and the visual feast created by Paul Barritt’s film and animation coupled with the three performers’ seamless interactions with the animated characters. The audience appear spellbound by this picturebook story just as children might listening to The Pied Piper of Hamlin. In this instance the children are lured away by a sinister ice cream van and Granny’s Gumdrops which are a chemical cosh akin to a hefty dose of Ritalin.
Performers Felicity Sparks, Genevieve Dunne and Rowena Lennon each play a range of characters that they bring vividly to life. Despite the period look stylistically, there is a very current feel to this show that does not need to mention Grenfall Towers. The colour palette and use of live music creates the feel of an old silent movie. The delivery of the local characters is filled with acerbic wit and drips with the acidic knowledge that if you’re born in the Bayou, you’ll die here. Agnes Eaves radiates a hopeful innocence and then a growing terror that is reminiscent of Clara Bow while the mournful delivery and physical performance of The Caretaker evokes something very Chaplinesque.
This is an ambitious and assured production that hits all the right notes on the plink plonk piano in that window in The Bayou. It perfectly highlights the inherent unfairness of a Society where the odds are always stacked against the poor and the dispossessed. It is darkly subversive and yet it has warmth and charm as it also shines with the compassion and humour of humanity still present despite such a bleak environment.
HOME 6th- 16th February
1927 are an Associate Company of HOME
All images by 1927
Written by Jean Genet
Translation by Martin Crimp
Directed by Lily Sykes
My jet of spit is my spray of diamonds says Solange and this defines this production of The Maids. Director Lily Sykes has taken her directorial experience in Germany and employed it to excellent use with this darkly erotic and uncomfortably sinister game of charades between two sisters and their Mistress. The slow trickle of sand from the ceiling signalling hope ebbing away is echoed in the drip, drip, drip of poisonous words and actions that pervades the performance. Toxicity is everywhere, not just lurking in the contents of a dainty china cup. The Maids is decadent and delicious in its insoucuant disregard for conventional morality.
The main stage at HOME has been transformed by designer Ruari Murchison to create a round central stage that perfectly captures the psychological boxing ring that is this play. Like a Coliseum of gladiators the cast fling barbed words and even the flowers strewn around the stage are pointed weapons that gaily puncture the floor like poison darts. Seated in the round the audience become props for the cast as they interact with us like blank eyed smiling sociopaths.
Screens project quotes from Genet and images of iconic faces such as Hitler and Mary Berry with provocative statements such as good/bad, bon/mal invite reflection on how we perceive our society. These screens also act like surveillance cameras and project close ups of the performers as they obsessively examine their own ever changing and increasingly unsettling images. Like our obsession with celebrity and our own appearance, the characters seem trapped by their own reflections.
In keeping with the duality in Genet’s work, the maids and their Mistress are all played by men. All three are perfectly cast as foils for each other’s capricious natures and are mecurial in their capacity to move in and out of Dom/Sub roles. They share make up and fashion while trading blows and insults like prize bitches in a nightclub toilet or naughty children in their mother’s bedroom. Jake Fairbrother as Claire brings vulnerability and wistfulness to his character while maintaining a sense of powerful sexuality when needed. His beautifully modulated delivery gives a real emotional depth to his performance. Luke Mullins is enthralling as the brittle, desperate and yet imperious Solange. Danny Lee Wynter relishes his role as Mistress, giving her a tender affection for her maids coupled with a chilling disregard for their plight.
Jean Genet experienced life as an outsider and his work relishes and glorifies the adsurdity of life that makes one man an outcast and another revered or one woman a maid while the other is the Mistress. This production of The Maids celebrates his sense of the absurd and pokes fun at our own ways of coping in an increasingly nightmarish world.
HOME 16th Nov – 1st Dec
Images by Jonathan Keenan