Tag: Sarah Kane

The Faggots And Their Friends Between Revolutions

Musical, Theatre
Image credit: Tristram Kenton

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.

Image credit: Tristam Kenton

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
Etta Fusi as M in CRAVE
Image credit:Shay Rowan

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