The third year students on the Theatre And Performance course at Arden School Of Theatre had their first theatrical outing this week in a double-bill of devised productions, proving once again, that when it comes to innovation and boundary-pushing, these students are neither strangers to it, nor afraid of so doing. I have learned a long time ago, that when attending performances by the students on this course, to expect the unexpected, and even then, sometimes I am either shocked or confused (usually both...!). I am a conventionalist at heart and like my theatre to be a soothing and pleasant experience, perhaps educating me too along the way, and to be entertained and delighted by precision and uniformity. So, when sitting in the audience at these productions, I feel a little like I have entered the lion's cage.
The first piece this afternoon, 'Lippy Kids', took even the stalwarts of the genre by surprise. One of the tutors asked me after it was over what I had thought of it, and the only word I could think of in reply was "different". The students, in collaboration with Turntable Theatre, had created a circular flat stage around which several cabaret-styled seating at large round tables had been placed. Behind these on one side, a four-piece band, and on the other a small stage with microphone. As we entered to take our seats it was obvious that a raucous and wild party had already taken place here.. balloons aplenty were strewn everywhere, whilst empty shot glasses and beer glasses as well as used party poppers and other party detritus littered the tables. Once the cast arrived and took their seats in amongst us and around us, it was clear also that we were not just mere spectators, but we were an integral part of the action and the story; and although we were never actually called upon to interact with the cast, we certainly were not separated from them at any point, and we had to be prepared to be touched or stared at, and I was shouted at directly in the face by one cast member and at another point, another cast member whispered something in my ear. This was a tactile and visceral performance like no other.
Loud live music performed - I am assuming that this was a deliberate ploy to sing out of tune, and if so, worked nicely within the anarchy of the piece - throughout, as well as a couple of stand-up comedy routines; all within their highly politically motivated agenda. You were not given the opportunity to collate your own thoughts, you were part of their thoughts, and their politics... and it was tub-thumped to us unremittingly. The whole hour switched vagariously from snippets of half-whispered conversations to full-blown political rants and rioting; this is youth culture and youth morals taken to the hilt, and we were all swept along with these ever-changing vignettes. Some more poignant than others, and a couple were spoken so quietly at the far side of the room that I simply could not hear them. However the whole was very sincerely portrayed and seemingly very heartfelt. Highly proficient, powerful and sincere.
There were a couple of occasions when the lighting did not hit the spot where the speaker was, keeping the protagonist at that point in the dark whilst another area was lit. Was this deliberate? Perhaps also an age-restriction should be put on the entrance to this piece, it is not suitable for youngsters.
After the interval and we returned to the main theatre, now looking far more conventional and recognisable as a theatre for the second piece, 'Chaotica'. This time the Arden students were working in collaboration with Tomyumsim, and although there was not much in the way of plot with this piece, I was able to garner far more from it than the first one.
We started outside the theatre and we were shown a video welcoming us to the 'Habitable Hub', and were given the rules and code of conduct once we entered. The theatre was our 'habitable hub' and we were in a year much nearer the end of this millennium that the start. A great war or disaster has taken place, and the outside earth is uninhabitable, and only these 'hubs' are available for the lucky few. It is a comedy, a parody perhaps, and is very tongue-in-cheek in places; but it also has a much more sinister and more real meaning too. This is an apocalyptic vision with a word of warning, that unless we are proactive and help our world now, there will not be a tomorrow.
One of the biggest problems that I am constantly facing with productions on this course is the volume levels. When the mics are used they tend to be pitched to loudly, whilst unmic'd speech tends to be unprojected and quiet. This was sadly the case in this production too.
As with the first play, this was basically a series of smaller vignettes, but there was a definite progression here leading to a cathartic conclusion. The wind tunnel to the outside was very simple but effective, and the inclusion of images and footage on the screen behind helped with the overall understanding and placing of the production. The costumes were wacky and weird, and seemed like a cross between a sci-fi B-movie and Glam Rock. Again though, the actors and actresses were all totally committed to their roles and the through-line of the show, and it was their conviction which provided both the humour and the sincerity of the piece.
A little audience interaction was required as we played a sort of bingo. Which produced the most interesting premise of the whole script; that the prize for winning the bingo was a lifetime inside the habitable hub. However, the hub can accommodate a maximum of 10 people, and so the ten cast now have to decide which of them sacrifices themselves for the bingo winner to enter. This premise alone is worthy of a play in its own right.
The worms idea could have been developed more, and there were even large worms under the rostra walkway which were never referenced. And perhaps the comedy of repetition could have been given more emphasis; meaning that the cathartic moments and drama would have been highlighted a little more too in turn.
Reviewer - Matthew Dougall
on - 13.10.23
on - 13.10.23
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