Tag Archives: Battersea Arts Centre

Trojan Horse

★★★★★

Battersea Arts Centre

Trojan Horse

Trojan Horse

Battersea Arts Centre

Reviewed – 6th November 2019

★★★★★

 

“an essential piece of theatre that tells a story that deserved to be told long ago”

 

The Trojan Horse inquiry began as a counter-terrorism operation and ended as a symbol for modern Britain’s barely concealed Islamophobia. Spurred on by an anonymous letter, which detailed conservative Muslims plotting to “take over” Birmingham schools, education secretary Michael Gove took action, launching not only inquiries, but a sense of hysteria that was fed by a biased media.

Five years later it is widely accepted that this letter was a hoax, the planned takeover fictional, and the schools – far from breeding terrorism – were quite the opposite of extremist. But what of the teachers, suspended and under surveillance? What about the students who were caught in the crossfire? Birmingham City Council, disgruntled head teachers, worried parents, school governors – what do their lives look like now?

Based on 200 hours of interviews, LUNG Theatre answer these questions by asking us to relive Trojan Horse from the inside. What begins as a tale of redemption – a failing school turned around, teachers inspiring and students prospering – quickly devolves into a nightmare that is hard to endure and even harder to pull back from.

Five actors bring a fascinating group of characters to life. Rashid (Mustafa Chaudhry), who left school without any GCSEs, teaches Urdu at Park View, his life having been changed by school governor Tahir Alam (Qasim Mahmood). Alam is credited with having turned local schools around, allowing students like Farah (Gurkiran Kaur) to have hope that they can pursue success outside of Alum Rock. Former head teacher Elaine Buckley (Keshini Misha) is less than complimentary of Alam. Buckley claims she was forced out of her old school for refusing to bend to the will of parents and governors. She raises her concerns with Jess (Komal Amin) at Birmingham City Council; the anonymous letter arrives on Jess’ desk days later, giving Elaine the ammunition she needs. Though they are undoubtedly amalgamations of many people, these feel like whole characters, rather than representations of a certain viewpoint. This is thanks to the purposeful performances of the actors, particularly Mahmood’s unflinchingly honest Rashid and Misha’s vitriolic Buckley.

Once the letter leaks, the community crumbles under the weight of the controversy. School is no longer enjoyable: the students are subject to government surveillance and head counts of hijab wearers. Rashid is not an inspirational teacher, but a dangerous facilitator, and Tahir Alam his sinister leader. Hinge-top desks are wheeled around the stage to create classrooms and courtrooms, until we have no choice but to associate the two.

It is impossible not to watch and feel anger, above all else. Despite the inevitable conclusion, this is not a play where the audience leaves limp, their heads bowed with sadness. This is not a play that asks us to observe its content, clap politely, and go home. This is a play that demands action.

Trojan Horse is an essential piece of theatre that tells a story that deserved to be told long ago. Here I do my bit to transmit this story, to raise my small voice and ask that everyone that reads this go and see it. And, when the play goes to the Houses of Parliament in January 2020, I ask that everyone at Westminster – from the Prime Minister to the lowest government employee – do themselves the favour of watching and learning, not only about the power of the arts to tell stories, but from the mistakes of the past decade, in the hope that they will not be repeated in the next.

 

Reviewed by Harriet Corke

Photography by Ant Robling

 


Trojan Horse

Battersea Arts Centre until 16th November

 

Previously reviewed at this venue:
How to Survive a Post-Truth Apocalypse | ★★★ | May 2018
Rendezvous in Bratislava | ★★★★★ | November 2018
Dressed | ★★★★★ | February 2019
Frankenstein: How To Make A Monster | ★★★★★ | March 2019
Status | ★★★½ | April 2019
Woke | ★★★ | June 2019
Now Is Time To Say Nothing | ★★★★ | October 2019

 

Click here to see our most recent reviews

 

Now is the Time to say Nothing

★★★★

Battersea Arts Centre

Now is the Time to say Nothing

Now is the Time to say Nothing

 Battersea Arts Centre

Reviewed – 3rd October 2019

★★★★

 

“You will see the world in a different way when you emerge from the darkness of the performance space”

 

Now Is The Time To Say Nothing is one of those rare events where you drop your old ideas of what theatre might be at the door, realise that a new paradigm is here, and that you are lucky enough to be part of it. In 2014, director, dramaturg and participatory artist Caroline Williams and Syrian filmmaker Reem Karssli got together at the prompting of a group of teenagers connected with the Young Vic’s Taking Part project. The teenagers wished to understand, in a deeper way, life in a war zone from sources other than news broadcasts. Brought together via Skype and email, Williams and the group followed Reem and her family’s daily life in war torn Damascus for several years. Now Is The Time To Say Nothing, now at the Battersea Arts Centre, is Williams and Karssli’s record of those events, including footage from Karssli’s film Everyday, Everyday. It is put together as an immersive theatre experience in which the audience discovers, in a brief 55 minutes, what it is like to live in a war zone, and then to be a refugee fleeing from Syria and surviving a dangerous sea voyage in order to reach the safer shores of Europe.

Now Is The Time To Say Nothing is not a show for a large audience, and that is one of the sources of its power. In fact, there is space for only a dozen or so people at a time, and it begins more like an evening at home in front of the television. The house staff usher you into a darkened space where an old fashioned television awaits each participant, complete with a comfortable chair to sit in, and a pair of headphones to place on your head. The chairs are arranged in a circle, facing out, so you begin by feeling completely alone. The TV screen in front of you shows bright patterns which resolve into images of the first things ever broadcast. You, the viewer, are asked to think about the process in which the pictures in front of you are created. Meanwhile, the sounds in the headphones immerse you in a world of middle eastern music and then, the sound of planes overhead, bombs falling. The transition is beautifully done.

Through participatory action, you gain a deeper understanding of a refugee’s life. By means of viewing on the screens and hearing the sounds through the headphones you create your own theatrical experience. This is what makes Now Is The Time To Say Nothing uniquely transformative. You will see the world in a different way when you emerge from the darkness of the performance space.

This show is highly recommended, although do keep in mind the material is, at times, distressing with its depictions of war. But otherwise, go, and prepare for a theatrical metamorphosis.

 

Reviewed by Dominica Plummer

Photography by Paul Blakemore (from previous production)

 


Now is the Time to say Nothing

 Battersea Arts Centre until 19th October

 

Previously reviewed at this venue:
How to Survive a Post-Truth Apocalypse | ★★★ | May 2018
Rendezvous in Bratislava | ★★★★★ | November 2018
Dressed | ★★★★★ | February 2019
Frankenstein: How To Make A Monster | ★★★★★ | March 2019
Status | ★★★½ | April 2019
Woke | ★★★ | June 2019

 

Click here to see our most recent reviews