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Trojan Horse

Battersea Arts Centre

Reviewed – 6th November 2019

★★★★★

“an essential piece of theatre that tells a story that deserved to be told long ago”

The Trojan Horse inquiry began as a counter-terrorism operation and ended as a symbol for modern Britain’s barely concealed Islamophobia. Spurred on by an anonymous letter, which detailed conservative Muslims plotting to “take over” Birmingham schools, education secretary Michael Gove took action, launching not only inquiries, but a sense of hysteria that was fed by a biased media.

Five years later it is widely accepted that this letter was a hoax, the planned takeover fictional, and the schools – far from breeding terrorism – were quite the opposite of extremist. But what of the teachers, suspended and under surveillance? What about the students who were caught in the crossfire? Birmingham City Council, disgruntled head teachers, worried parents, school governors – what do their lives look like now?

Based on 200 hours of interviews, LUNG Theatre answer these questions by asking us to relive Trojan Horse from the inside. What begins as a tale of redemption – a failing school turned around, teachers inspiring and students prospering – quickly devolves into a nightmare that is hard to endure and even harder to pull back from.

Five actors bring a fascinating group of characters to life. Rashid (Mustafa Chaudhry), who left school without any GCSEs, teaches Urdu at Park View, his life having been changed by school governor Tahir Alam (Qasim Mahmood). Alam is credited with having turned local schools around, allowing students like Farah (Gurkiran Kaur) to have hope that they can pursue success outside of Alum Rock. Former head teacher Elaine Buckley (Keshini Misha) is less than complimentary of Alam. Buckley claims she was forced out of her old school for refusing to bend to the will of parents and governors. She raises her concerns with Jess (Komal Amin) at Birmingham City Council; the anonymous letter arrives on Jess’ desk days later, giving Elaine the ammunition she needs. Though they are undoubtedly amalgamations of many people, these feel like whole characters, rather than representations of a certain viewpoint. This is thanks to the purposeful performances of the actors, particularly Mahmood’s unflinchingly honest Rashid and Misha’s vitriolic Buckley.

Once the letter leaks, the community crumbles under the weight of the controversy. School is no longer enjoyable: the students are subject to government surveillance and head counts of hijab wearers. Rashid is not an inspirational teacher, but a dangerous facilitator, and Tahir Alam his sinister leader. Hinge-top desks are wheeled around the stage to create classrooms and courtrooms, until we have no choice but to associate the two.

It is impossible not to watch and feel anger, above all else. Despite the inevitable conclusion, this is not a play where the audience leaves limp, their heads bowed with sadness. This is not a play that asks us to observe its content, clap politely, and go home. This is a play that demands action.

Trojan Horse is an essential piece of theatre that tells a story that deserved to be told long ago. Here I do my bit to transmit this story, to raise my small voice and ask that everyone that reads this go and see it. And, when the play goes to the Houses of Parliament in January 2020, I ask that everyone at Westminster – from the Prime Minister to the lowest government employee – do themselves the favour of watching and learning, not only about the power of the arts to tell stories, but from the mistakes of the past decade, in the hope that they will not be repeated in the next.

Reviewed by Harriet Corke

Photography by Ant Robling

Trojan Horse

Battersea Arts Centre until 16th November

Previously reviewed at this venue:

How to Survive a Post-Truth Apocalypse | ★★★ | May 2018

Rendezvous in Bratislava | ★★★★★ | November 2018

Dressed | ★★★★★ | February 2019

Frankenstein: How To Make A Monster | ★★★★★ | March 2019

Now Is Time To Say Nothing | ★★★★ | October 2019

Click here to see our most recent reviews

★★★

“has an interesting premise, but ultimately, it is a bit hit-and-miss”

The notion being ‘triggered’ is certainly a hot topic of cultural and artistic debate. ‘Trigger Warning’ tackles this head on, as audience members are guided through a minefield of possible triggers for their upcoming performance of ‘Hope’. The play is a mix of elements reminiscent of ‘The Play That Goes Wrong’ and David Attenborough’s ‘Planet Earth’, combined together in what certainly is a statement piece.

Audiences are directly addressed from the very beginning by a duo of energetic and some-what frazzled flight attendants, played by Kath Duggan and Daniel Hay-Gordon. The play itself is structured in two halves; the first consists of audiences being prepped for the story ahead called ‘Hope’ which may or may not ever take place. Warnings include that it may make us feel a certain way, including boredom and frustration. The directorial decisions by Natasha Nixon are very strong, as the performers use clowning and voice-overs to tremendous comedic effect. Duggan and Hay-Gordon’s knowing glances, elastic facial expressions and needless faffing about with failing props make for a series of guaranteed laughs. The beginning sequence is inexplicably hilarious: however, this is unfortunately short-lived.

The second section, in which the play ‘Hope’ takes place, is incredibly confusing and loses the momentum that had been set by the strong opening. Audiences are then told of the story of ‘Hope’, a young migrant who was crossing the border. The narrative is unclear as we are told to read a ‘synopsis’ that we had not been given. This is clearly ironic, but it is then followed by Duggan and Hay-Gordon staring at the audience for five minutes whilst elevator music plays. Nixon’s direction in the second half loses the sense of pace and energy created in the first twenty minutes of action. It does, however, fulfil the trigger warning given of creating feelings of boredom and frustration.

The play’s design (Lily Arnold) is striking yet satisfying. Bold pastel colours frame the stage and costumes. Sound (Owen Crouch) and lighting effects (Amy Daniels) feature very heavily throughout. In particular, we never hear Hay-Gordon’s character speak, he lip-syncs all his lines. The most exciting design element is on the audience’s entry to the space, as we see Duggan struggling to pull a huge pink carpet through what appeared to be a side window. It is a spectacle made by the illusion that the window was going directly into the street. Concepts of the space itself are reversed, as we entered through the fire exit outside the theatre and exited through the entrance. It is details like these that summarises the play’s irreverent playfulness.

This play has an interesting premise, but ultimately, it is a bit hit-and-miss. This dark comedy teeters around the edges of offence and acceptability. However, it is done so in a way that is so conceptual that it often leaves the viewer completely perplexed.

Reviewed by Emily Morris

Photography by Harry Elletson