I’ve been trying to think of imaginative ways to greet you, but I’m going back to basics with the classic;
Hello there
I’m so classy. I hope everything is wonderful and you’re all as chirpy as a chirper. If you’re not, there’s no need to worry, I have a blogpost that will turn your frown upside down into a beautiful (albeit slightly crumpled smile). I don’t really know what I’m talking about either, just smile and nod and I’ll go to sleep soon.
So, it’s the first day of the last month of the year. This is incredibly exciting because it’s now socially acceptable to eat chocolate before breakfast. But remember folks, eating chocolate is not just for christmas, it’s a year-round lifestyle choice.
Because it’s Christmas, I am purposefully not going to talk about Christmas. This is because I’m so alternative and I don’t believe in bombarding you with festive boughs of merriment…yet. That’s a December 14th kind of blogpost, for sure.
Note: Is blogpost one word or two? No idea. Apologies if I have been wrong all this time – I am a menace to society.
No, I’m not going to talk about Christmas, because you’re most likely aware that Christmas is occurring and I’ll leave it to, you know, everyone else to coerce you into shaking your bellies like bowls full of jellies (eh, I tried).
Instead I am going to talk about a wonderful wonderful wonderful piece of theatre that I saw this week – ‘Hopelessly Devoted’ by Kate Tempest. If you aren’t aware of Kate Tempest – hang your head in shame. She’s a spoken word artist/rapper/Mercury prize nominee/poet/playwright/general goddess.
Bit o’ background: James Grieve (one of the co-artistic directors of Paines Plough) saw Kate Tempest performing live, and commissioned her to write her first play ‘Wasted’. Paines Plough is a touring theatre company (which I have had the pleasure and good fortune of working with), who work with playwrights all over the country to create amazing amazing work.
I saw this play on Tuesday, without even having to leave my house. That’s right, the entire cast came to my home and performed the show just for me. Well, actually that didn’t happen, as believable as it may have sounded. I really do toy with your emotions on this blog, don’t I? Don’t I understand that I’m a role model for young people everywhere? In the words of Lena Dunham:
I don’t want to freak you out, but I think that I may be the voice of my generation.
I will most definitely reflect on Lena Dunham’s sheer awesomeness in another episode of ‘Writing, Rewriting, Writing etc.’. I’m afraid we can only discuss one inspirational woman at a time. I know it’s sad, but we’ll make it through.
Anyway! Stop interrupting! The Roundhouse Theatre did a live screening of Hopelessly Devoted, so I gathered my loved ones; put on my slipper socks; connected a bluetooth speaker, and let the literary genius wash over me. (Yes, the slipper socks were an integral component to my story)
I am sure that many of you reading this are sceptical about live screenings, or even the concept of theatre being filmed in general. For example, some would say that it isn’t a true representation of watching the real thing, because the cameras situated all around the theatre, cut, pan and zoom, so it’s more artificial. To this I say, you’re right, it is more artificial. But on the other hand, it’s also like you have cyborg vision, so it’s win-win, really. Some theatre critics have argued that live screenings would replace people actually going to see the show in person. I would tend to disagree with this, because, coming from somewhere where I can’t readily access these kind of shows, I am very grateful indeed for these screenings. So there. And for that, you know what, I am quite prepared to put up with some zooming-action.
So, back to the actual play; There was a formidable strength to the ensemble of Sheila Atim (Chess), Demi Oyediran (Serena) and Frances Ashman (Silver). This all-female cast emanates solidarity and sisterhood, as their relationships, passions and sanity is tested by the struggles of being in prison.
Despite her struggles, and with the help of Silver’s workshops, Chess finds solace in music and the spoken word. She vents her frustration towards the system through her powerful lyrics. There were moments of unbelievable poignancy as these incredible performers were flung into a life on the edge. I wouldn’t even say this was a performance that came from the heart, it was more like it came from the core; like that bit just under your ribcage which is just pure strength and soul.
As well as this there was some effortlessly witty dialogue, coupled with expert delivery, which showed how humans naturally can find joy in a place where there is none. I wanted to see more of this comedy, it contributed so perfectly to the play’s bittersweet message.
The staging was stark and simple. There were no conventional entrances or exits as all three remained on stage for the entirety of the show; confined to the small, box-like performance space as if they truly were behind bars.
This was a play whose lifeblood was pumped by rhythm and reality. There was a rawness to it in terms of Chess’ raw musical talent, the degrees of separation from the outside world and the pain that this causes the characters. This is the kind of theatre I love. It’s humble, truthful and often difficult to watch. This is the theatre of the underdogs (a genre I have just made up), and it challenges where our sympathy and our morality truly lies.
Theatre’s great, innit? Love me some political interrogation of the theatrical form – am I right?
Check out the Paines Plough blog here where you can find out more info about ‘Hopelessly Devoted’ and all the other beautiful plays that they are working on.
Well it has been a pleasure, sorry if I went on a bit – if I ever start boring you, just throw something soft like a pair of socks at me and I’ll wind up in 10-15 minutes.
Ciao, bellas xxx
Writing, rewriting, writing etc. 