★★★★

“The chaos is cut with emotion, and it’s carefully and cleverly structured”

YesYesNoNo are one of the hottest new theatre companies on the current London scene. Following a sell-out run of Nation at the Edinburgh Fringe, which he wrote and performed, Sam Ward’s latest offering is a chaotically absurd retelling of the French Revolution with pool noodles and bouncy castles.

There are five things this audience need to know about the French Revolution. Some are factual, some funny and some furious.

We begin in pre-revolutionary France. Inequality is rife, as demonstrated by peasants being thwacked by a pool noodle. This is a play that seethes under a jovial surface.

As the historical events develop, so too does the madness unravel. A bouncy castle, a performer on a treadmill, sports commentary of a protest, and a lot of wigs. Each performer multi-roles with cardboard signs announcing their character, none of whom are named. It’s pure Brecht. Thus, unsurprisingly, the silliness masks an anger and a serious message.

Here lies the uncertainty of the play. The anger is clear, and the parallels between modern day Britain and pre-revolutionary France, gloomily obvious. House prices are soaring, and as the rich get richer, the poor struggle for food. There is very little acknowledgement of the modern day, allowing the audience to join the dots themselves. But in doing that, the message becomes murkier, some aspects obvious, some obtuse. The ending makes the point of the allegory clearer, but feels disjointed, both in tone and meaning.

As a retelling of the French Revolution, it is sparky and punchy, if a little simplistic. As a modern-day commentary, it’s a little uncertain. It becomes a general comment on inequality and struggle, leaving the final visual moment, while striking, a little empty.

The show was devised by Sam Ward and the cast. There are some beautiful textual moments, some which have Ward’s signature flowing style. The chaos is cut with emotion, and it’s carefully and cleverly structured.

Joe Boylan is sublime, leaping over the vaulting horse, trudging on the treadmill and creating a balletic and pathetic image of the King. He also delivers the two most powerful and memorable monologues, striking an emotional resonance which is desperately needed. Jessica Enemokwu, Sha Dessi, and Alice Keedwell create delightful caricatures and bring energy and silliness to the stage. Paul Brendan deftly switches from the enthusiastic sweary washerwoman to the patronising idealistic bourgeoise, bringing each to life with joy and complexity.

Hazel Low’s set conjures an instant smile. With a shiny red floor, horse vault and an umpire chair, it is reminiscent of a school gymnasium. The childlike playfulness is brought to the fore. But the set also manages to encompass darker themes, and in combination with Han Sayle’s lighting design and Tom Foskett-Barnes’ sound there are moments of pure carnage.

This show has flashes of genius but based on YesYesNoNo’s previous work I couldn’t help expecting more from this play. It could’ve gone further, delving deeper into the messaging, and the payoff didn’t feel strong enough. As a devised piece it may evolve into something more complex as time goes on. But it’s an electric production, with some visual delights.

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

Two Rounds explores the legacy of womanhood through two generations of four women in a tender and contemplative story. The first group we meet is a tea-party of housewives living in 1960s Italy. Translated from its original Italian debut and written by Cristina Comencini, the piece is a long conversation between four mothers. In the second act the actors play their respective daughters. Nothing happens to the characters beyond what they simply reveal dramatically to each other and events described off-stage. Beatrice, a vision in pink, (Daria Mazzocchio) is pregnant with her first child. Claudia (Natalie Cutler) in a green poodle skirt is uptight and traditionalist and consistently reminds Beatrice to expect even more pain in childbirth than whatever she imagines. Briskly dealing cards for the game is Gabriella (Flora Sowerby), in blue mid-length trousers. She criticises the nature of their housewife role with dry humour and knowing looks. Lastly, in matching purple headband and trousers is Sofia. She wins often at cards, but feels she has not won at life. Sofia (Saria Steyl) laments her life and delivers philosophical rants whilst chain smoking (around a pregnant woman…it’s definitely the 60s!) with pithy delivery.

Permeating the emotional moments is bright and dreamy lighting with vibrant pinks and an occasional flickering hanging lamp (Han Sayles). The set consists of a living room decorated with a somewhat kitsch collage of black and white photos of brides, mothers and families with the costumes doing heavy lifting in evoking the time period (Evelien Van Camp). Further punctuating the drama in the women’s conversation is a light piano score and Italian music (Hattie North). At the change to the next generation the home is draped in sheets and with cooler more sombre lighting and some Nokia ringtones to garnish its 90s setting.

“it is performed with quiet strength from the cast in both acts”

The relationship between mother and daughter is captured through the dual roles of the performers. Beatrice, pregnant with her daughter Giulia tells us she adored her mother who died. Directly mirroring these events in the 90s, Giulia (Mazzocchio) gathers her childhood friends after a funeral. Claudia, who idolised her mother, discusses the value she places in her role as a parent. In the second act, her daughter Cecilia (Cutler) is desperate to be pregnant. Gabriella, who feels lonely and side-lined proclaims she will teach her daughter Sara to play piano. Sara (Sowerby), a concert pianist, wishes her husband were more assertive in their marriage, disliking how he emasculates himself. Sofia feels dispassionate about her role in her daughter’s life. A doctor, Rossana (Steyl), who keeps an unlit cigarette in her mouth (it’s a metaphor) discusses balancing a career and family life. The women in the 90s generation discuss their problems with feminism and to some extent seem to dislike some of the freedoms they have that their mothers didn’t. The women of the elder generation casually admit to adultery, loneliness and resentment with their respective daughters supposedly in the room next door. Conversely, none of the daughters have become mothers in the second half and have made their own choices in their work and love lives.

Overall it is performed with quiet strength from the cast in both acts. Steyl’s performance enamours the audience to a regretful and bitter Sofia. Mazzocchio is endearing as Beatrice and Giulia, showing range. Directed by Aida Rocci, the scenes weave through the tea party and funeral but avoid over-the-top melodrama with expertly placed jokes by Cutler and Sowerby. However in lieu of conflict, expositional dialogue takes up the entire runtime. It is a tear-stained love letter to mothers and daughters.

Tag Archives: Han Sayles

THE GLORIOUS FRENCH REVOLUTION

★★★★

New Diorama Theatre

THE GLORIOUS FRENCH REVOLUTION at the New Diorama Theatre

★★★★

“The chaos is cut with emotion, and it’s carefully and cleverly structured”

THE GLORIOUS FRENCH REVOLUTION at the New Diorama Theatre

Reviewed on 18th November 2024

by Auriol Reddaway

Photography by Alex Brenner

Previously reviewed at this venue:

KING TROLL (THE FAWN) | ★★★★★ | October 2024

BRENDA’S GOT A BABY | ★★★ | November 2023

AFTER THE ACT | ★★★★★ | March 2023

PROJECT DICTATOR | ★★½ | April 2022

THE GLORIOUS FRENCH REVOLUTION

THE GLORIOUS FRENCH REVOLUTION

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TWO ROUNDS

★★★

Jermyn Street Theatre

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

“it is performed with quiet strength from the cast in both acts”