Contact Young Company with Hetain Patel
Directed by Hetain Patel
A leisurely walk through Salford gazing at a skyline of half-built new skyscrapers and giant cranes. The audience is heading to a secret location for the latest production by ContactYoung Company . It feels like I’m entering a very male environment where a performer might suddenly walk off a building sight to wolf whistle, or stroll into the bushes to pee or do something else suitably blokish. Instead we enter a yard full of tyres and cars….there is sweat, grease and testosterone in the air….or is there?
Notes pinned to the fencing are verbatim quotes from men interviewed for this project. They reveal men who don’t always think how stereotypical images suggest. Men who are wary and also feel vulnerable post #MeToo. Men who are uncertain or feel restricted as to how to express their emotions in our society.
Cars are parked up with radios on and doors open. Like art installations they give additional snapshots of masculinity – young studs cruising on a Saturday night fuelled on fast food and hopes of fast women, father’s with cars full of toys and sippy cups, lease cars for business, sober and impressive.
In a garage space, CYC are clad in blue boilersuits squaring up eye to eye with the audience. This is very up close and personal. Full on and unapologetic they posture; knuckle grazing, hair smoothing and checking themselves out. This is a Haka that demonstrates strength and prowess, and also functions as a welcome. Oil drums are used to ear splitting effect. Photos are being taken. Poses shift from happy, carefree snaps for social media to tableau images that menace and disconcert. As with She Bangs The Drums earlier this year CYC deliver something that is punchy, provocative and challenging.
This work has been developed from extensive interviews with men in the community from groups such as M13 Boys and Salford Young Fathers Project. Director Hetain Patel and Producer Keisha Thompson are clearly passionate about this project and this production is bursting with ideas and energy from the whole company. It is as messy, vibrant and challenging as my teenage son’s bedroom.
There are meaty chunks of group scenes in the sweaty gym where men feast on another’s potential sexual conquest sucking on the bones as though it were theirs. Yet the bloke’s awkwardness shines through despite his posturing and bravado. It is akin to watching a Ricky Gervais character in the gym instead of the office. Like layers of an onion this scene can repulse, unnerve and evoke pity.
Using males and females from CYC cleverly allows for the predictable sexual stereotypes of men as predators and women as deserving whores or vulnerable victims to be frequently subverted and challenged. Women can be the aggressors and predators too. A playful gameshow highlights the confusion and risk of generalized assumptions as does an amusing scene on public transport.
There are frequent shifts of mood and energy in the performance as emphasis shifts to look at rape and assault statistics or male suicide risk factors. Tender moments when monologues describe poignant moments such as when a traumatised 13 year old learned we place the blame on the victim not the culprit. A young man describes his ambitions as a dancer and his Libyan/Italian heritage and flips perceptions as he speaks of his father’s pride and encouragement. The M.O.T scene gleefully skits through our expectations of men and chillingly fails many of them placing them on a scrapheap they may struggle to escape from.
OH MAN opens up dialogue around our perceptions and expectations of men and questions just what it means to be masculine. There are no neat answers in this piece but there is palpable excitement as CYC challenge themselves and their audience.