THEATRE REVIEW: Us Against Whatever - Hull Truck Theatre, Hull.

Advertised as 'a karaoke cabaret', this production by Hull-based theatre company Middle Child is much more than just that.

Directed by Paul Smith, this Brechtian musical theatre cabaret show is completely different from anything I have ever seen before. So different in fact that I am sruggling - as you can probably tell - to pigeonhole it. Eastern European retro Kabarett style meets down-to-earth heartfelt Northern grit, with not an insubstantial amount of Agitprop theatre thrown in for good measure.

A white-faced MC (think Emcee in Cabaret) narrates the story with majority of her words translated into Polish on the rear wall, whilst a live band play origianl music / songs throughout. The black and white costumes, the cabaret-styled staging and lighting, all suggestive of one thing, whilst in complete juxtaposition we have the story of Polish siblings arriving in the city of Hull and looking for work. We hear from them of how they are received and treated by different sections of the city's population. And yet, ostensibly this production is all about Brexit. Just when you thought that we had had enough plays about Brexit, this one came along, and although we understand the politcal connotations throughout, we never feel uncomfortable or feel that their political standpoint is either the same or completely different from our own. Somehow it manages to be a political piece of politically motivated theatre without showing bias. That's quite an achievement. Moreover, this production was performed in Hull by a Hull company for a Hull audience; one of the cities in the UK to have voted overwhelmingly for Brexit.

Sadly, the production has lost it's oomph now. I watched this online only two night's ago. The UK is in the middle of an unexpected and unprepared-for viral pandemic, and we have already left The EU, and are trying unsuccessfully to negatiate some kind of deal with the EU now in retrospect. Therefore this piece is now more of a historical time-capsule, capturing a moment in recent British history.

Sometimes the production feels intentionally very stagey and superficial; and yet, at the play's core is real and sympathetic characters with whom we have a very real connection. Smith isn't afraid of making good use of silence, and these moments add depth to the whole, allowing us, the audience, time to breathe and think. Despite some doom and gloom, expecially in the second act; there is an air of optimism.

"Are you frightened?"
"Yes"
"Me too; all the time."
"Do you think it will ever stop?"
"One day it will have to stop."

Reviewer - Matthew Dougall
on - 13/8/20