“Highly provocative, this left people arguing in the bar long past the show ended.”
I once read that when viewing theatre you should ask two questions – ‘why this play?’ and ‘why now?’, I don’t think I have ever seen a play on the London Fringe that gives such an immediate and affirmative answer to those questions, as Dolphins and Sharks.
Set in 2014, this is the story of 5 people grounded in a Harlem copy shop where racial, economic and social tensions flicker as brightly as the light from the broken down printer. We see them struggle to maintain their hope as pressures beyond their control mount and conspire to threaten what they value most, ultimately turning on each other as they clammer to stay afloat in a sinking world.
This is an invigorating production. What is extraordinary about this play is how much it achieves in its simplicity. James Anthony Tyler’s script doesn’t try to make grandiose statements about race and society, it settles for creating characters with warmth, humour and a level of humanity that is still only rarely afforded stage time for characters of non-white origin. In doing so, the swing it takes at modern America and Western values is far more ferocious than any political agenda can manage, encompassing questions of race, class, gender and economic corruption. These characters aren’t trying to change the world, they are just trying to survive in it; playing by rules they had no hand in making and fighting odds which are stacked against them. It’s effortlessly brutal and heart-breaking, offering no easy answers and issuing a direct challenge to its audience.
The cast is exceptional. Each character is vividly drawn and played with spirit and compassion. At the heart is Shyko Amos as Isabel, a woman who still finds the strength to be kind in a world that treats her with contempt. Amos’ performance is phenomenal. We laugh with Isabel, never at her, making the realisation of how badly she has been failed a punch in the gut that left the audience gasping. As Yusuf, the innocent who tries to keep faith that he can be his own man by doing the ‘right’ thing, Ammar Duffus is compelling. Shading each crack in Yusuf’s naivety and gently switching between charm, pride and vulnerability, keeping the audience on side as his desperation becomes more apparent. Scaling the corporate ladder, Rachel Handshaw’s Xiomara is torn between ambition, loyalty and expectation. Handshaw never lets the audience lose sight of her conflict, even as her friends do.
Hermeilio Miquel Aquino’s Danilo blasts onto the stage with a blitz of energy and charisma, which only becomes more energising as the character’s enthusiasm wanes. Finally Miquel Brown anchors the show as Miss Amenze, a woman standing up against the waste of potential she sees in the youth of her community. Lydia Parker’s direction is natural and invisible, giving the actors the full scope and freedom to do these characters justice. The set design is beautiful. The soundtrack beats are pounding. This is simply a quality production, with not a hair out of place.
I can’t recommend this play highly enough. Highly provocative, this left people arguing in the bar long past the show ended. Highlighting the issues of 2014, only serves to put a more glaring lens on the problems of today. How much have we accepted on blind faith? How much do we continue to accept? To survive amongst the sharks, dolphins need to swim together. But can the dolphins take on the sharks and re-write the rule book in order to thrive? Ultimately that is the gauntlet that this play throws down and it’s a question we all need to be asking.
“A thought provoking play featuring two terrific actors”
With a general election just a couple of weeks away the manifesto pledges of the main parties have a focus on education, whether it be funding or the drive to improve emotional health and wellbeing. Interesting timing then for a play about the relationship of a teacher and a former pupil which is told at the Finborough Theatre for a four week limited season.
Jam is a play by Matt Parvin who trained at the Royal Court Theatre and the Arcola Theatre Writers Programme. His professional debut Two Roads premiered at VAULT Festival in 2015.
It isn’t clear why the play is called Jam. A couple of explanations could be ‘in a bad situation or serious trouble’ or ‘Just About Managing’. Either would be appropriate as the story recalls each character explaining what happened 10 years ago between them and how they are managing life since. It certainly covers the need for emotional health and wellbeing in the school place and beyond.
Kane McCarthy is a 23 year ex-pupil with ADHD who has tracked down his old school history teacher Isabella Soroush 10 years after a classroom incident that caused her to leave her job.
The play opens with Bella working late and alone in an upper state school reviewing and marking work. This relaxed situation is interrupted by the arrival of Kane, partly dressed in combat clothing and with a back pack which, it turns out, holds a baseball bat. He immediately brings an uncomfortable atmosphere to the stage, violence always seems a short distance away. Tension remains throughout.
Over the course of the next 90 minutes we learn about what happened between the pair, seen from opposing viewpoints. Initially it seemed that Bella was a victim of an unpleasant attack by Kane but as the dialogue develops the details are far more complicated. There are underlying references to the social stereo typing of Kane by Bella and also racism by Kane against Bella. The audience is taken on a roller coaster ride of emotion siding with each character in turn, yet wondering then whether each are telling the truth and therefore who to believe. Is Bella as innocent as she seems? Does Kane have a life limiting illness? So many questions are posed though not all are answered. The writing cleverly makes the audience think about the content long after they have left the venue.
What makes this production stand out are the terrific performances from both Harry Melling (Kane) and Jasmine Hyde (Bella). Neither could have given more to the production. Melling, who is known for work on the Harry Potter films, commands the stage well and is totally believable as the damaged young man he portrays. Hyde is confident throughout though she has a greater role as the story progresses. Both are accomplished actors of stage and screen, appearing comfortable in handling their challenging parts in Jam.
Parvin’s writing has much to be applauded though there was a slight feeling that some of the content could have been better developed. Overall though it was a thought provoking piece of theatre enthusiastically approved of by the attentive audience. The stage setting though minimal was appropriate for the production.
