Daring and detailed, Operation Black Antler is a powerfully thought-provoking piece of immersive theatre booking out of the Southbank Centre
“Let’s go for a deep swim”
When a company sticks the term ‘immersive’ on its marketing copy, it can too often be a wishy-washy attempt to lure its audience in without really making them engage on any meaningful level. There’s no danger of that with Blast Theory and Hydrocracker’s Operation Black Antler though, as your undercover police mission to infiltrate a suspect protest group means you have to get right in there, really challenging yourself to see how far you can, or should, go in the name of national security.
So much of the thrill of the event comes from the unknown (is it time for more You Me Bum Bum Train yet?) so no spoilers here, but I will say that there’s something shockingly effective about the set-up, the ease with which one can slip into someone else’s shoes and adopt a voice full of abhorrent messaging, ostensibly for the greater good. You can choose how much or how little you engage with the process but let’s face it, no-one is booking an immersive show to embrace your retiring wallflower side! Continue reading “Review: Operation Black Antler, Southbank Centre”
“Give me the history of the Congo in four and a half minutes”
There’s an ingenious moment in the middle of They Drink It In The Congo when a PR guy has to step in for an ailing colleague at an imminent press conference and utters the line above. The answer he gets exposes not only the vast complexity of the socio-political issues in the Democratic Republic of Congo but also the way in which Westerners seek to reduce them to manageable soundbites so that they can be dismissed as problems easily solved
Which in a nutshell is the key issue at the heart of Adam Brace’s new play for the Almeida. Aware of the impossibility of doing Congolese history justice in a couple of hours, he approaches the issue from an alternative angle, the impossibility of “doing something good about something bad”. Daughter of a white Kenyan farmer, Stef now works for a London NGO and is excited to be given the opportunity to organise ‘Congo Voice’, a new arts festival raising awareness of the issues there. Continue reading “Review: They Drink It In The Congo, Almeida”
“Nor doth this wood lack worlds of company”
Surtitled A Play For The Nation, Erica Whyman’s production of A Midsummer Night’s Dream for the RSC has fully embraced the communal spirit that the best theatre can summon and across its UK tour over the next few months, will undoubtedly prove a wonderful tribute for the 400th anniversary of Shakespeare’s death. For at each stop across the land, different local amateur theatre companies will take on the part of the Rude Mechanicals and local primary schools will make up the numbers of Titania’s fairy train, getting their moment to shine in a repurposed final scene.
It’s a rather lovely way to share the warmth of this most loveliest of plays and in Whyman’s hands, it really does succeed. Key to its inclusiveness is the relocation to 1940s Britain and a design from Tom Piper that subtly evokes the Tower of London poppies installation on which he collaborated, the suggestion of a society pulling together permeating every aspect of the show, even Oberon’s fairies muck in as live musicians. And the social disruption of the time allows for an interesting reading of the text which, while emphasising English bumptiousness over sexuality, is witty throughout. Continue reading “Review: A Midsummer Night’s Dream – A Play For The Nation, Royal Shakespeare Theatre”