“a rich mixture of captivating drama, music, dance and laughter”
Stepping into the Chickenshed Theatre foyer, one is greeted by animated warmth, a feeling which is projected on stage and also explains the deserved success of this first inclusive theatre company. The remarkable logistical feat of putting on ‘A Christmas Carol’ with four casts of 200 goes almost unnoticed as the place buzzes with impressively organised activity and we are swept along by the energy and enthusiasm.
Set in the 1930s, Dickens’ Victorian social issues are updated by a meagre benefits system, severe unemployment and women’s equality, as a background to the timeless story of miserly Ebenezer Scrooge and how he found himself capable of changing for the better. Writer and director, Lou Stein, brings together younger and older, veterans and newcomers, and produces a rich mixture of captivating drama, music, dance and laughter, tailor-made for the hundreds of Chickenshed members. The catchy collection of musical numbers by Dave Carey has rousing choruses and distinctive solos, giving opportunities for everyone to participate. A stylish, art deco set, designed by William Fricker, frames the show and his detailed costumes colour the characters. Beautifully imaginative lighting (Andrew Caddies) adds atmospheric touches, transporting us to the various times and places.
As well as working with remarkable coordination, the whole cast exudes immense discipline and composure; there is some fine singing and exciting choreography. The main roles are well defined and confidently portrayed, from Finn Walters’ stoic Bob Cratchit to the cool ‘Ghost of Christmas Present’ played by Michael Bossisse. But a big round of applause goes to Ashley Driver for a wonderful interpretation of Scrooge and his journey from misery to happiness.
Performing with such a supportive infrastructure opens a door to these children and young people. It allows them to gain confidence and discover new facets in themselves. Quite apart from being a wonderful and clever piece of entertainment, Chickenshed’s ‘A Christmas Carol’ has its own special quality which comes from a deep sense of being part of a community. It is worth the trip to the end of the Piccadilly line to experience one’s own irresistible Scrooge-like change of mood.
“there is a real sense of inclusiveness and each and every young person on the stage is fully invested in what they are performing”
Chickenshed presents their latest production, Don’t Stop Thinking About Tomorrow, a powerful piece of theatre combining music and movement to address the issue of man-made climate change. Fictional character Oscar Buhari, played by Ashley Driver, describes himself as an artist who “dedicates his life to witnessing human stories behind climate change” and throughout the production he narrates a series of short pieces depicting these stories. The result is ninety minutes of thought-provoking theatre, well executed by a diverse group of young performers.
Having seen a number of Chickenshed’s productions in the past, I’m used to their large cast sizes, but there is always the worry that this may cause the performance space to appear cluttered and overcrowded. In this particular production the cast is split across the series of short pieces, but even in the pieces made up of larger groups of performers, the stage is far from cluttered. The space is used very well in these instances, particularly during “Plastic Paradise”, a visually intriguing piece depicting the devastating effect plastic is having on our oceans.
Generally speaking, the choreography is very impressive. Each performer contributes to the piece they are involved in and there is some great ensemble work, particularly during “Pensive Hope”, an abstract montage representing the melting of polar ice caps. Another piece where the movement is particularly well executed portrays the destruction created in New Orleans by Hurricane Katrina in 2005. The contemporary style choreography, combined with powerful music and projections of footage of the effects of the hurricane, makes for a hard-hitting piece and one that is definitely a personal highlight of the whole production.
A special mention must go to Dave Carey who has created some powerful original compositions that complement the stories very well. Over the course of the production, Chickenshed’s Vocal Voices perform a series of arranged pieces, such as “Hurt” by Johnny Cash, Joni Mitchell’s “Big Yellow Taxi” and, of course, the title song “Don’t Stop Thinking About Tomorrow” by Christine McVie of Fleetwood Mac fame. These pieces incorporate what is described as “the usual Chickenshed twist” and are delivered by some talented vocalists.
There is no doubt that Lou Stein has conceived and directed something special, with the help of what is clearly a group of passionate, driven young people. This is a thought-provoking, moving and surprisingly uplifting production, covering a very important issue. However, what stands out the most, as with every other Chickenshed production I have seen, is that there is a real sense of inclusiveness and each and every young person on the stage is fully invested in what they are performing, regardless of their abilities, backgrounds and personal challenges. That alone is inspiring.
