THE GLORIOUS FRENCH REVOLUTION at the New Diorama Theatre
★★★★
“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.
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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