I walked into the Quays Theatre auditorium, ready to take my seat. To my surprise the audience and I were taken behind the curtains on to the stage where an inclusive and relaxed performance area had been created. Jess Thorn, the lead performer, welcomed all of us.
Thorn has Tourettes, a condition that involves making movements and noises uncontrollably known as tics. She challenged herself by performing Samuel Beckett's short play, Not I. A nonsensical play with a lot of words which have to be spoken very fast - among other rules and restrictions. This particular interpretation explores the notion of neurodiversity: where neurological differences are viewed and respected as any other human variation. A concept which is applicable to individuals with labels such as dyspraxia, dyslexia, ADHD, and Tourettes Syndrome.
A contemporary twist on a classic text from the era of the Theatre Of The Absurd, this performance was inclusive of various types of audience members. The BSL performer and interpreter was Sharmain, she did a fantastic job. It's almost like we were in a living room with the suspended glowing lights, cushions, floor mats, and stage curtains around us. This is a play which works on the audience's nerves rather than their intellect, but at the same time we were made to feel comfortable.
After an autobiographical opening, providing the audience with context and information about the performers as well as explaining what tourettes is, it was time for the 13 minute monologue to commence. I'm not going to reveal any spoilers. I just want to express that Thorn did a successful job at maintaining the authenticity of the original text and production requirements, while at the same time adapting the performance for her own body and mind. To take on this personal and artistic challenge was completely admirable and inspirational.
Inevitably, her tourettes slipped into the performance, however that was totally fine. Firstly, her verbal tics complimented the random and fragmented nature of the text. Secondly, the tics varied the rhythmic delivery of the text. Finally, why shouldn't Thorn perform this text? In a play which strives for accuracy and places an emphasis on a "perfect" delivery, this interpretation embraces failure and personal imperfections - sending out an empowering message in the process.
Elements of the text took on new meaning within the frame of the context. When Beckett describes this intense feeling rushing around the body, I can't help but think this is how Thorn may feel before a tic manifests itself. The suffering and volatile outbursts become rather poignant given the circumstances. Thorn claims Mouth as a disabled character in the play, achieving a performance which is hypnotic, surreal, and liberating.
The behind the scenes documentary which followed was engaging and insightful. It was an effective idea to have a question and answer session to close. Although, the audience participation exercise at the end might have been exposing for some. It was a lovely idea and worked for some kind of audience members, I didn't mind it having being a drama school student, but not everyone is comfortable with audience participation.
Conclusively, Mouth was only as isolated as the community in the play made her. There were underlying socio-polictical themes throughout promoting the values of respect, tolerance, inclusiveness, and diversity. When 'Not I' was first performed, there was this dominant concept suggesting life has no meaning or purpose, but this performance really has a clear cause. The meaningless has been made meaningful.
Reviewer - Sam Lowe
on - 20/11/18
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