Tag Archives: The Space

I Occur Here – 5 Stars

Occur

I Occur Here

The Space

Reviewed – 14th August 2018

★★★★★

“their neediness leads them to dance with a desperate parody of abandon, both agonising to watch and hilarious

 

Little known in the UK, Uruguayan novelist, essayist and poet Mario Benedetti is revered in Latin America. His death in 2009 became a catalyst for the region’s artists and writers and it is his poem ‘This is my house’ that provides the title for this short piece of physical theatre, staged with great brio at The Space Arts Theatre by the Oh Dear Theatre Company.

This work explodes Benedetti’s concept of home as a place in which there is no doubt, to the modern reality for millions, caught in the churn of teeming migration. Four transient archetypes (played by Daniela Cristo Mantilla, Nathalie Czarnecki, Santiago Del Fosco and Karolina Kritz) make their way for four different reasons, from the stability of their homelands to four barely defined destinies.

Theirs is a peculiarly modern variety of migrant, sharing nothing apart from their ‘in-betweenness’, unable to establish themselves in the cultural washing machine into which they are thrown. Indeed, clothing is used brilliantly from the start, the characters maniacally trying on and discarding clothes, effective as a metaphor for their unstable self-images, but also as a portrayal of instability itself. Wardrobe and the use of colour helps to separate out the play’s taxonomy of home-leavers – the searcher, the escaper, the mover and the ousted – creating order within a writhing, vibrant spectacle.

Physical theatre is not generally a clarifying medium. However, as a way to convey the delirium of the protagonists it is well chosen. Without acknowledging Benedetti’s influence, his appreciation of the poetry of the ordinary world runs through Hannah Winter’s script, with short, snatched scenes articulating perfectly those conversations with parents on leaving, that crisis of deciding what to pack for a journey to somewhere impossible to know. Movement Direction (Christian From) is no less articulate, for example in the scene in which the bewildered four are simply unable to sit on chairs properly, too anxious about fitting in, to fit in. Likewise, as they finally make friends, their neediness leads them to dance with a desperate parody of abandon, both agonising to watch and hilarious.

Despite a shredded narrative, mangled vowels and disconnected storylines, Directors Malena Arcucci and Mariana Aristizabel Pardo ensure the performance remains enjoyable and meaningful. Granted, it’s unlikely anyone will understand all mother tongues employed. Yet through the construction of the script, the use of audio sequences (Francisco Dorado) and lighting (Niko Goodman) to demarcate and punctuate, a kind of geometry is created to hold the audience and set up a satisfying conclusion, as the ousted meets an inevitable fate.

 

Reviewed by Dominic Gettins

 


I Occur Here

The Space until 18th August

 

Related
Previously reviewed at this venue
Citizen | ★★★★ | April 2018
Be Born | | June 2018
Bluebird | ★★★★ | July 2018

 

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Bluebird – 4 Stars

Bluebird

Bluebird

The Space

Reviewed – 25th July 2018

★★★★

“viscerally funny, and celebratory too; a love affair with language, with London, and with the messiness of being human”

 

There couldn’t be a more apt time for The Space to stage Simon Stephens’ 2012 play, Bluebird – the action of which takes place over the course of a sweltering summer night in London. The stifling heat at the moment, together with the proximity of the actors in The Space’s intimate playing area, made us feel, as audience members, that we were truly sharing the night with the characters, in a way that only added to the emotional intensity of the evening.

The play revolves around Jimmy, a Mancunian writer turned cab driver. Simon Stephens sees that the cab driver takes on the role of confessor in the secular world of contemporary Britain, and as Jimmy criss-crosses London in his Nissan Bluebird, his fares divulge the secrets of their lives, and, each in their own way, struggle to make sense of the business of living. ‘Do you have any idea what it means – at all?’ asks fare number two, a genial joker with a beer in his hand; a question that resonates throughout, and is at its most unbearably poignant in relation to the central tragedy of Jimmy’s own life.

Although the play deals with irreparable loss, grief, and the immense and powerful everyday drama of the relationship between parent and child – recurrent Stephens themes all – it is also viscerally funny, and celebratory too; a love affair with language, with London, and with the messiness of being human.

The Space’s production – directed by Adam Hemming with a sure hand and a light touch – rightly keeps the language centre stage, and maximises the strengths of an immensely able cast, in order to create a powerful, funny and genuinely moving evening. A few of the transition sequences were a little clumsy, and a couple of performances required greater vocal control – with writing this good, you really don’t want to miss a word! – but these were tiny niggles in the face of some exceptionally good acting. Terrific, tight, well-observed and connected work from Jonathan Keane as Jimmy, Mike Duran as Robert and Adam Scott-Pringle as Richard, as well as a wonderfully warm and true performance from Felicity Walsh as Angela. Special mention must go, however, to Anna Doolan, for her heartbreaking portrayal of Jimmy’s wife Clare. It was an exceptional performance, and this reviewer wasn’t the only audience member to find herself in need of a hanky.

 

Reviewed by Rebecca Crankshaw

Photography courtesy Space Productions

 


Bluebird

The Space until 4th August

 

 

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