The Other Room’s The Story and Hela make a delightful and daring double bill of Welsh drama at Theatre503
“Do’s dim hawl ’da ti adael,
You don’t get to leave,
Do’s dim hawl ’da ti anghofio pwy wyt ti
You don’t get to forget who you really are”
A brilliant idea this – Cardiff’s OG pub theatre The Other Room has gathered up the three plays that made up their recent The Violence Series and sent them out on tour. They’re mainly visiting Welsh venues but there’s also a stop at Theatre503, allowing London audiences a highly tempting taster of the quality of work available at the other end of the M4.
I caught two of the three – The Story and Hela being presented in a double bill, Matthew Bulgo’s American Nightmare making up the set of dystopian dramas. That said, you have to wonder at what point we stop calling it dystopia and simply call it tomorrow, a pressing sense of disturbing resonance and relevance that is particularly brought out in Tess Berry-Hart’s The Story. Continue reading “Review: The Story / Hela, Theatre503”
“We’re all in the same boat…”
One of the shrewder observations of recent weeks has been the puncturing of the declamatory announcements that the UK has become impossible to live in and that emigration was now necessary after just a few days of turmoil. For when you compare that to the issues that cause immigration now, for example more than five years of civil war, huge swathes of towns and cities – even Syria’s largest city Aleppo – literally bombed out, then you see the sense of perspective that is sorely needed.
Issues like this ran around my head as I sat down to watch Tess Berry-Hart’s new play Cargo (a snippet of which I was able to see at the excellent Refugees Welcome event in May). Among the many strings to Berry-Hart’s bow is her role as a key co-ordinator for Calais Action and so this is clearly a writer who knows of what she speaks when it comes to refugees. But taking a different spin on the subject, Cargo imagines (or should that be slightly embellishes…) a near-future dystopian Britain that is the land people are trying to flee.
It’s an effective technique, one which tumbles the audience directly into the experience of those forced to flee the sanctity of their homeland. Max Dorey’s design reconfigures the Arcola’s studio into a shipping container and we’re plonked on crates and rubbish bags for seats, straining to hear the whispered beginnings of the play which opens in darkness as three young people stowaway in hope of reaching the welcoming security of Europe. But have they leapt from the frying pan into the fire, as the desperate measures they’ve taken continue to threaten them. Continue reading “Review: Cargo, Arcola”
“We’re privileged to welcome you here”
Something a bit different for a Sunday but definitely worthwhile, Refugees Welcome saw a curated collection of performances exploring the themes of displacement, exodus and the humanitarian disaster of the refugee crisis through the medium of theatre, comedy and poetry. Organised by David Mercatali in support of Calais Action and all their advocacy work as well as aid support for displaced people in camps and hotspots across Europe, it proved a powerful programme of thought-provoking work.
For me, it was most fascinating to how consider how theatre in particular responds to contemporary crises, the speed of response somewhat limited by form, the nature of response dictated by swift-changing news agendas. So the excerpt from Anders Lustgarten’s 2015 play Lampedusa, performed by Louise Mai Newberry and the playwright, felt horribly like last year’s news because we’re not being still confronted with the images of overcrowded boats crossing the Med. But the snippet of Tess Berry-Hart’s Cargo, soon to be seen at the Arcola, reminded us that this is not a problem that is going away, and that (certain) theatres are not shying away from. Continue reading “Review: Refugees Welcome, Southwark Playhouse”