list.co.uk/festival Reviews | F E S T I VA L T H E AT R E
GENESIS: THE MARY SHELLEY PLAY Creative mayhem portrayed politely and traditionally ●●●●●
The circumstances surrounding Mary Shelley’s creation of the novel Frankenstein has been well explored in the arts, notably in Ken Russell’s Gothic, a film that taps into the hallucinogenic nightmare that seemed to follow the romantic poets Byron and Shelley and their wives and lovers as they attempted to break through the pieties of Enlightenment society. Genesis takes the night before Mary’s dream that birthed the monster, yet can bring little new to the wild events. Mary Shelley herself is lost in the general antics:
a few monologues expressing her thoughts and desires aside, the sexual and artistic hysteria of the two male poets – and their companion Polidori – dominates the action. The script is over-written, aiming for the elegance of 18th-century conversation but never quite achieving poetic fluidity, and the cast pitch their performances towards a formal, traditional acting style that can feel stilted. While the company make good use of the limited accessories of the venue – the lighting is evocative and guides the structure – Genesis never quite matches the mania of the story itself. (Gareth K Vile) n C Cubed, until 26 Aug, 5.05pm, £10.50–£12.50 (£8.50–£10.50).
NEVER NONE (BUT SHE) Feminism with an environmental message ●●●●● THE TRIAL Muddled exploration of gender ●●●●●
Asterglow Theatre have created a lovely image at the heart of their inaugural show. Set on a minimal, twinkly stage, three female protagonists are tasked with saving the stars in the sky before their depleting numbers inevitably shroud us all in darkness. As well as female empowerment, there’s an environmental message, and the urgency with which these women are fighting to put more stars back into the sky is a nice metaphor for the continued struggle to save the real environment.
The three protagonists – Pan, Lilla and Tansy – discover that their shared inner powers can work as a force for change in a darkened world. Every now and again, the show’s neighbourhood anti- feminist pops up, declaring that all women should leave the decision making to the men. But even non-progressives don’t – for the most part – think women should be silent in 2019, so an updated anti- feminist character written with a little more nuance would have felt like more of a believable illustration of the show’s concerns.
Still, there’s a real sense of urgency coursing through this piece of experimental theatre, and the company impressively convey the idea that each and every action counts. (Adam Bloodworth) n theSpaceTriplex, 19–24 Aug, 11.55am, £10 (£7).
This inventive solo is loosely based around real life experiences and the novel Tieta do Agreste by Jorge Amado. Charismatic performer Inês Sampaio manages to keep the audience captive for the duration of the piece, with some inventive character work and use of musical instruments. However, the central question and the titular ‘trial’ lack the clarity to truly resonate.
The story centres around the family of a transgender woman from the Brazilian town of Agreste, who was chased from their hometown in their youth, only to become wealthy. Examining how money impacts people’s perceptions and prejudices, the script explores issues surrounding the LGBTQ+ community. A smattering of musical instruments and loop pedals add to the show’s engaging quality.
Unfortunately, the story unfolds too unevenly, and the amount of ground Sampaio attempts to cover means that the audience is constantly catching up. When it comes time to ask the audience to act as a jury, there is too much confusion about their task: a missed opportunity to explore some timely and complex questions. (Sean Greenhorn) n Greenside @ Infirmary Street, until 17 Aug, £10 (£5).
P H O T O :
E M W A T S O N
AMERICA IS HARD TO SEE Compassionate yet troubling verbatim examination of a community of sex offenders ●●●●●
These people are habitual liars, community psychologist Anne warns us. You can’t believe a word they say. It’s a warning that runs like a dark thread through this emotionally devastating, deeply troubling show from New York’s Life Jacket Theatre Company. This is Miracle Village, a small Florida community like no other. Here, everyone is a convicted child sex offender, living a tightly controlled life on probation following years of incarceration. Mercifully, there’s a total absence of judgement and
sensationalism in this challenging, uncomfortably honest show (and yes, a few upsetting specifics are divulged – as they really need to be). Six actors sketch in the men’s stories using verbatim testimonies, though what’s true is always up for discussion. There’s Chad (a touchingly fragile Harry Waller), a talented music teacher who got too close to a favourite pupil. Or 21-year-old Chris (an appropriately wide-eyed, David Spadora), who maintains he never knew his girlfriend of several months was just 14.
Director Travis Russ has expertly curated their interviews to create a gripping dramatic arc, tackling forgiveness and guilt, truth and lies with remarkable balance. If there’a sense we might empathise too much with these ambiguous characters, we’re brought up short with a reminder that their crimes have destroyed lives. Likewise, if we start to condemn, we’re reminded that these are men, not monsters, with failings and frailties like we all have. Life Jacket have been performing the show in the US since early
2018, and it shows: it’s a sharp performance that bristles with conviction, with faultless choreography and some heartrending songs. America is Hard to See is a brave, bold work, delivered with ringing clarity and purpose, and as unsettling as it is compassionate. (David Kettle) n Underbelly Cowgate, until 25 Aug, 7.45pm, £11–£12 (£10–£11).
14–26 Aug 2019 THE LIST FESTIVAL 91