Tag Archives: VAULT Festival 2020

Sticky Door

★★★★

VAULT Festival 2020

ReviewsAddison Waite, Andrew Hollingworth, Anna Kezia Williams, Beccy D’Souza, Bicycles and Fish, Ellen Havard, Katie Arnstein, Lidia Crisafulli, Rachel Sampley, VAULT Festival 2020thespyinthestalls

Sticky Door

Cage – The Vaults

Reviewed – 12th February 2020

★★★★

“If good art holds a mirror up to nature, then Sticky Door provides a remarkably clear reflection”

Katie Arnstein is on a roll, coming into 2020 off the back of two successful solo shows: her 2018 Bicycles and Fish, and 2019 follow-up Sexy Lamp. Arnstein’s latest piece, Sticky Door, completes the feminist trilogy. You can catch all three shows at VAULT Festival this week.

The title Sticky Door refers to a quote by Minouche Shafik, former Deputy Governor of the Bank of England. Shafik argued that systemic sexism is not like a glass ceiling, which when shattered leaves the way free and clear for other women to follow. Sexism is more like a sticky door: it helps to have someone pulling from the other side, and once pried open, sticks shut again.

Arnstein’s performance combines storytelling and original songs she accompanies with the ukulele. Like her previous shows, this one draws heavily from personal experience. Arnstein takes us back to 2014: the year she had an epiphany that she’d been a passive participant in all of her relationships, and decided to correct for it by embarking on a year of casual sex, which she would initiate.

In a smartly written, very funny monologue, Arstein shares her stories of sex, sexism, cystitis, and the worst flat in London. In her breathless narration – she packs a lot of words into sixty minutes – the jokes fly fast. Her love of language is evident, and much of the comedy comes from incredibly clever similes. Puns also crop up repeatedly. Considering the heavy subject matter, including discussion of depression and assault, Arnstein’s approach is fresh and entertaining. And while her bubbly lightness is undeniably engaging, she shows notable skill in her ability switch gears, reign in the levity, and allow the serious moments to be serious.

If good art holds a mirror up to nature, then Sticky Door provides a remarkably clear reflection. Many will see pieces of their own experiences in Arnstein’s stories. Although Sexy Lamp may feel like a more directed, cohesive show, Sticky Door cuts deep with its argument that society grooms girls to tolerate harassment and abuse: to direct their anger inwardly, and translate it to guilt and shame, as opposed to outwardly, at the perpetrators and a society that caters to them. With moving conviction, Arnstein calls for women to believe they deserve better, and to find the courage not to accept less.

Arnstein offers up her own encounters with misogyny for dissection with intelligence and insight. Her shows are a gift to the women in the audience in particular, who will undoubtably leave feeling less alone.

Reviewed by Addison Waite

Photography by Lidia Crisafulli

Click here to see all our reviews from VAULT Festival 2020

Everybody Cares, Everybody Understands

★★★½

VAULT Festival 2020

ReviewsCory Shipp, David Denyer, Dominika Fleszar, Everybody Cares Everybody Understands, Hamza Siddique, Holly Ellis, Joe Eyre, Josie Charles, Melissa Dunne, Papercut Theatre, Tommo Fowler, Tricia Wey, VAULT Festival 2020, Wiebke Greenthespyinthestalls

Everybody Cares, Everybody Understands

Cavern – The Vaults

Reviewed – 11th February 2020

★★★½

“lightening-up moments here and there could only reinforce its intrinsically powerful message”

Everybody Cares, Everybody Understands brought to the VAULT Festival by Papercut Theatre takes itself perhaps a bit too seriously – but is powerful nevertheless.

Lou is not exactly mentally stable. In fact, she is pretty much mentally unstable – but not in a pretty Hollywood way. She does not suffer silently. She is not a hero. She is not a delicate flower. When faced with the world that thinks of her as simultaneously dangerous and pathetic, Lou starts questioning if her problems do not actually became her own sense of self.

Played by diverse cast of four (Josie Charles, Joe Eyre, Hamza Siddique, Tricia Wey), each character filters their experiences with mental problems through their own lenses – lenses of different skin tones, ages, relationship and professional status. Their own struggles revolve around Lou’s struggles: sometimes different people play Lou, sometimes they all meet Lou during a group therapy, sometimes they date Lou, and sometimes Lou interacts with them to gain a deeper understanding of their own personal battles.

The entire play is wholly deconstructed for the audience (including loudly proclaimed scene changes and even in-play discussions about the intent behind the play), as quite boldly directed by Wiebke Green. The flow between scenes could have been perhaps a bit smoother – it is sometimes a bit difficult to empathise with the characters, let alone understand them. In print, the whole concept is probably very clear, however on stage a bit of framing for the sake of smoothness would be beneficial.

Needless to say, lighting by Holly Ellis is absolutely magnificent, especially in such a non-theatrical (although admittedly very cool) space as The Vaults. It is dynamic and surprising and perfectly amps things up when they start turning a bit monotonously serious.

Because here’s the rub – with all its brilliant qualities, Everybody Cares, Everybody Understands takes itself a tiny little bit too seriously. Not to say that its topic should be taken lightly as such – absolutely not – but lightening-up moments here and there could only reinforce its intrinsically powerful message.

Reviewed by Dominika Fleszar

Click here to see all our reviews from VAULT Festival 2020