THE WRONG THEY KNEW

Chickenshed Theatre

★★★½

“Most impressive of all were the amazing, big ensemble pieces.”

From the moment the show opens, the soaring ambition of Chickenshed Theatre’s latest production strikes you on the face like a beam of sunshine after a dull grey morning. The large size of the performance space (deployed to its greatest extent); the towering set of wooden beams and the rolling scenery which seamlessly transforms a courtroom set into a narrow street of dingy houses; a vibrant musical book: all this, when added to the sheer energy of a 200 person company delivers a theatrical experience like no other.

Chickenshed is performing arts educational institution whose devotion to inclusiveness and issue-based theatre has been breaking boundaries for over fifty years. Since its beginning, in a disused chicken shed, to its current set-up in a purpose-built theatre complex in Southgate, north London, the charity has been inspiring thousands of youngsters of every culture, colour and ability. This unwavering belief that everyone has a role and a contribution to offer in the great tapestry of life was showcased throughout this dramatic presentation. Diversity in its many forms and all its glory.

The Wrong They Knew is the annual, full production designed to engage every adult and child in the organisation. For this, directors/choreographers Bethany Hamlin and Michael Bossisse and writers Paul Morrall and Sebastian Ross have created a story which they have set in the late 1950s in the streets of Forest Hill at the height of the growth of racial tensions after Windrush, when the community is sharply divided but some are beginning to seek a way to meet each other on equal ground.

Into this story of racial prejudice and injustice, the writers have sown multiple threads, including shocking abuse of power, a trial and death (disturbingly drawn from To Kill A Mockingbird), riots, the early days of legal aid, classroom intolerance, the voice of questioning children, carnival and, ultimately, restitution.

It’s a heady mix of themes and a narrative drawn from a range of classic literary works challenging inequality, everything from Cry, the Beloved Country to Small Island. These are blended in a full musical score that showcases the talents of the musical directors Phil Haines and Cara McInanny, whose extraordinarily beautiful voice gives us such gems as ‘That’s not me’ and ‘Turn the Other Cheek’.

That does mean, as a member of the audience, it was a little too easy to get lost in the business on stage and the enormous mix of onstage talent. Gradually the characters emerged, however: most notably the children crossing the division in the community: Karl Leyens and Kailee Fisher as Roma and Diello; and Felix Figgis, Ajani Onaolapo and Kayla James as teenagers Jackson, Theo and Zeeco. Skilfully portraying Theo’s father, was Shiloh Maersk. He is the victim of accusations of abusing a white girl: Tilly Morton is heartbreaking as Madeline, the girl who in reality has been beaten by her brutal father (Jimmy Adamous). And there was some serious artistic skill in the rest of the cast – all revealed in song and dance. Not to be overlooked should be the impressive work of the creative and backstage team who interweaved a highly mobile and visual set, lighting and digital media effects

Most impressive of all were the amazing, big ensemble pieces. These could so easily have sunk into chaos, but were in fact extraordinary well co-ordinated and articulated. At one point, everyone – all 200 people – was in the theatre arena: on stage, on the bridge at the back, and lined along the circle sides. It made for a genuine immersive experience, even if not billed as such, which drew one right into the heart of the action.