Before I Was a Bear
Reviewed – 14th November 2019
“Jacoba Williams is a powerhouse. She has an infectious energy, a warmth and an honesty and a bluntness that it is impossible not to connect with”
Before I Was A Bear is a surprising, funny, moving piece of brilliance on stage. A dancing bear opens the play, by which I mean Jacoba Williams, our performer, in a head to toe bear costume. She pulls the head off, and places it over a red light that shines through the bears eye sockets. This is just one example of Martha Godfrey’s fantastic lighting choices that constantly reinvent the space the play is taking place in.
“I’m Cally. And I used to be like you,” Williams says. She is talking, of course, about the time before she was a bear.
Eleanor Tindall’s play takes us on an unpredictable and captivating journey that delves into friendship, the awakening and navigation of sexuality, how older men look at young women, bad sex, good sex, straight sex, queer sex and celebrity worship to name but a few of the stops on the way. Based on the Greek myth of Callisto, Tindall uses a decidedly contemporary voice to talk about gender inequality, slut shaming and isolation.
Jacoba Williams is a powerhouse. She has an infectious energy, a warmth and an honesty and a bluntness that it is impossible not to connect with. Her lively direct address to the audience is splintered by moments of bear – scratching, trying and failing to open a packet of crisps, pain. These moments are shaped by different lighting combinations which silhouette and shadow and illuminate Williams alternately. The set, designed by Grace Venning, is minimal, two painted blocks with red undersides that echo the bear heads red eyes. The production is beautifully crafted as a whole, credit to the skilled and cohesive direction of Aneesha Srinivasan whose handling of pace is spot on.
‘Before I Was A Bear’ is a bold, comic, dark piece that is showcased in a flawless production brimming with talent.
Reviewed by Amelia Brown
Photography by Tara Rooney
Before I Was a Bear
The Bunker until 23rd November
Previously reviewed at this venue:
Queens of Sheba
Reviewed – 31st January 2019
“the piece resounds with leitmotifs and slogans that, though memorable, threaten to drown out the subtler refrains that form the crux of the subject matter”
The theatre company ‘Nouveau Riche’, which won The Stage Edinburgh Award for its production of “Queens of Sheba”, present quite vital theatre that is stripped back visually but rich in words that quite often dazzle with their pin-sharp focus. Now at the VAULT Festival for a limited run, “Queens of Sheba” tells stories of racism and misogyny from the perspective of four passionate Black Women. The capital letters are intentional – lifted from the programme notes – but are they really necessary? The message is surely powerful enough in its own right, without the need for the upper-case emphasis.
Based on the poetry of Jessica L Hagan and adapted for the stage by Ryan Calais Cameron, the piece resounds with leitmotifs and slogans that, though memorable, threaten to drown out the subtler refrains that form the crux of the subject matter. You need to read beyond the headline grabbing soundbites to realise that there is a more complicated story. Initially it feels like a bit of a tirade replete with sweeping stock phrases, but these are, in fact, quite moving, individual stories.
On a bare stage the four performers; Rachel Clarke, Jacoba Williams, Koko Kwaku and Veronica Beatrice Lewis, speak alone, speak in chorus, sing, rap and harmonise with an “all for one and one for all” attitude. Their tales are told with witty self-deprecation. Stories from the office workplace, a disastrous first date and from the queue outside a London nightclub – the latter based on a real incident when they were refused entry to the club for being “too black”. It brings home the truth that issues of racism are not black and white, but have many shades.
For the majority of the audience, though, it does feel like the ‘Queens of Sheba’ are preaching to the choir. Nevertheless, there is still plenty of entertainment value. The close-knit choreography defines the unison of these four girls, complemented by the tight harmonies when they burst into a cappella song; and peppered throughout are some delightful comedy moments that give a refreshing nod and a wink to the polemic. There is a particularly pertinent impersonation of a white man’s stumbling malapropisms on his first date with an “exotic” girlfriend.
In a limited time, much ground is covered, but inevitably much is left out too. Both its strength and its weakness. After an hour a kind of relentlessness sets in, like a slam poet who outstays his welcome. But at the same time, we do still want, and need, to hear more from these extraordinary women. This is an emotionally charged piece of theatre that is undeniably urgent.
Reviewed by Jonathan Evans
Photography by The Other Richard
Queens of Sheba
Part of VAULT Festival 2019