As part of this year's Voila! Europe Festival, much of what was supposed to have been live theatre was presented online perhaps differing slightly from the original stage shows, but changed in order to conform with current covid restrictions.
One such piece was a self-devised and directed production by Zoo Indigo, which was titled, 'Don't Leave Me This Way'. The premise of which was a supposed competiton between two people to decide which of the two nations they represent would win. The competition was conducted in the form of questions and tasks being asked of them about the culture, language, history, customs, traditions, music, literature etc of their country which they were required to answer or perform on a makeshift catwalk infront of their respective chairs.
On top of this there was a musician live on stage too (Rob Rosa) who underscored much of the piece with the music of their chosen countries playing on violin (fiddle), harmonica and a small keyboard. He was representing Czechia (although he too was actually English).
As the play progressed it became increasingly clear that despite the 'competition', neither competitor were comfortable doing what they were doing. Moreover, the one representing Hungary was actually German, and the one representing Ireland, English. We understood the reason for the production, a political study of identity and nationality. Perceived and actual.
The performers, prior to writing the piece, had travelled to both Hungary and Ireland to research and get a feel themselves of the cities and countries they were to represent. Rosie Garton is of Irish lineage, and has some distant memories of her family coming over from Ireland only to be told "No Blacks, No Irish, No Dogs" everywhere they went. Whilst Ildiko Rippel was born in Germany from a Hungarian mother, she has little if any understanding of the Hungarian culture and way of life, let alone the language.
It's a highly conceptual piece, rather static and minimalist, despite parts being sung and danced. There is an air of melancholy throughout; not anger, but disdain; and whilst images of SS Stormtroupers or a working class 1950's London were shown on screens, there was a hint of sadness, but not ruefulness.
The lighting at times was too dim sadly, it would have been preferable to have been able to have seen facial expressions more - especially since on camera, facial close-ups were possible. However, the screens, (suitcases) which showed the films and the writing which appeared on them were, even in the filmed version too small. How they would have been noticed, read or understood by a live audience is a mystery.
Despite the piece lasting just one hour, it felt much longer. It was very drawn-out and sad to say at times really rather boring. A nice idea, which sadly, lacked pace and impetus with too few dynamic changes.
Reviewer - Matthew Dougall
on - 22/11/20
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