Tag Archives: Josie Dale-Jones

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”

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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Dressed
★★★★★

Battersea Arts Centre

dressed

Dressed

Battersea Arts Centre

Reviewed – 26th February 2019

★★★★★

 

“It is rare to see performers as joyous and free as these four women are”

 

Lydia Higginson didn’t really know where dressed. would fit amongst the thousands of shows at the Edinburgh Fringe. She didn’t know what reviewers would say. She didn’t know what she wanted them to say, either, and so what they said didn’t feel right.

Now dressed. has won a Fringe First Award, transferred to Battersea Arts Centre, and is about to go on tour. But these accolades don’t make the reviewer’s job any easier. The fact remains that this is a unique show that defies categorisation, and that basic words like ‘hilarious’ or ‘heart-warming’, can’t hope to describe.

So, what is the show about? On the surface, it is about the power of creativity as a means of overcoming trauma. After being stripped at gunpoint, Lydia moves back home, locks herself in her room, and learns to sew. The first four garments she makes are costumes; by January 2017, she has made her entire wardrobe and given all her shop-bought clothes away. In dressing herself, Lydia is able to reclaim herself, to take back the body that was wrenched out of her control.

On its own, Lydia’s story is arresting and, dare I say it, inspiring. But the thing that makes it so special is the way in which it is told. Lydia performs alongside three of her friends – Josie, Olivia, and Nobahar – who dance with her, sing with her, and wear her costumes. But, most importantly, they enjoy themselves. In spite of the dark subject matter, dressed. is overwhelmed by a sense of joy. It feels as though they made this show purely because they wanted to make it: not out of vanity, but because they felt that this story deserved to be told. No it’s not polished, and yes the microphone wires keep getting caught on bits of the set – but who cares? It is rare to see performers as joyous and free as these four women are.

The roughness of the show should not be mistaken for a lack of professionalism: it is beautifully executed. All four performers are energetic and charismatic, each contributing something unique. Olivia Norris is a mesmerising dancer; Nobahar Mahdavi is a captivating singer. Josie Dale-Jones’ subtle humour brings comic relief, whilst Lydia herself is unflinchingly honest and direct. Lucy Adams’ lighting design matches and enhances the changes in tone, whilst the relatively bare stage is perfect for both dance numbers and quiet moments of sewing.

If I had to choose one word to describe dressed., it would be “celebratory”. It is a celebration, not only of creativity, reclamation, and Lydia herself, but of friendship. It is the story of four girls who met at a dance class when they were ten years old, and who now, as women, exemplify the beauty and power of friendship during dark times. Their love, for each other and for what they have created, is a reminder that theatre cannot be made without it.

 

Reviewed by Harriet Corke

Photography by  Camilla Greenwell

 


Dressed

Battersea Arts Centre until 2nd March

 

Previously reviewed at this venue:
How to Survive a Post-Truth Apocalypse | ★★★ | May 2018
Rendezvous in Bratislava | ★★★★★ | November 2018

 

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