by Jonathan Lee
I am probably not the image most people have in their mind when they think of a Gypsy.
My mother is of mostly Irish-American stock – which gives me a few ginger wisps in my beard, and a smattering of freckles across my nose and cheeks. My hair is dark brown, not black. I don’t wear a lolo diklo (red scarf) around my neck, or a staddi kali (black trilby hat) on my head. Most of the time I wear jeans and t-shirt, I rarely ever dance on tables, and I have no piercings or tattoos. I live in an apartment in the centre of a European capital with a woman whom I am not married to, and I travel only about 20 minutes maximum by foot every day to go to work.
If I ask you to close your eyes and picture a Gypsy in your mind’s eye you probably see someone with bangles and gold hoop earrings, floral patterned clothing, long hair, and dark flashing eyes. They may or may not have a tambourine, and may or may not be wearing a turban with a little gem in the centre holding it up. Maybe you see a fortune teller, or a travelling metalsmith? Perhaps a musician? If you are European, more likely you also see a beggar, a thief, a criminal.Continue Reading
by Liv Barnett
Barbershop Chronicles is a ride which buzzes with energy from the first shaves to the final fades. It is written by Inua Ellams, UK-based poet, playwright and performer, and is an exhilarating play that identifies various aspects of black men’s experience through snippets of stories and interactions in barbershops that Ellams overheard as he travelled throughout Africa. Like hairdressers or taxi rides, barbershops can be intimate spaces for banter, storytelling and confession. With generosity and patience, this play does a good job of allowing audience members to step momentarily into the world of men’s chats. We become part of the warmth and banter between sensitive characters and appreciate the feelings and analyses that come with post-colonial politics, experiences of cultural change, complex family dynamics and making a living amongst love and friendship.
by Carmina Masoliver
When I saw that 4.48 Psychosis was on at The Lyric in Hammersmith, I jumped at the chance to see it. When it was first there in 2016, I wasn’t in the country, and having studied the play for my university dissertation, I am always keen to view a new interpretation of the text (all those I’ve seen thus far haven’t warranted writing about).
For those who haven’t come across the play before, it was playwright Sarah Kane’s final play before her suicide in in 1999. For this reason, and that fact the its focus is on the experience of clinical depression, some, such as Michael Billington, have considered the text a kind of “ 75-minute suicide note”. However, it contains many truths that most people would be able to relate to, whether suffering from depression or not.
by Eli Lambe
Crude Apache is a local community theatre company which has been running, in one form or another, for the last 24 years. They are committed to producing accessible and thought-provoking theatre, and their tradition of using non-theatre spaces for their productions allows for innovative use of space and setting. The industrial, bare-bones space of The Shoe Factory Social Club in St Mary’s Works played well with the theme of their latest production, Howard Brenton’s Magnificence – a timely, if sometimes surface-level, exploration of the 1970’s squatters movement.
The play touches on the rise of neoliberalism, state-sanctioned brutality, homelessness and the effects of state brutality in turning resistance into a determination to hurt, and hurt spectacularly. Directed by Tom Francis, this was a solid adaptation of the original, and very successfully captured the arguments we are still having – with ourselves and each other – almost 50 years on.Continue Reading
by Hannah Rose
Director Tim Lane’s adaptation of Richard III is bone-chilling—and that’s not only down to the lack of heating in the Shoe Factory Social Club in Norwich. Shakespeare’s story of the wicked and rapacious King Richard is superbly located by Crude Apache in the disused factory space, which has been turned into a frightening vision of the future, an urban hinterland where people live in makeshift communities of cardboard boxes and behind wire fences. Exposed lights, metal girders and old sofas furbish the old factory; I could have been inside a modish bar in Hackney, or a punk squat in Berlin. The thumping techno beats made it all the more ethereal, and for a moment I was back at an illegal rave I once went to when I was twenty, except this one sold gin and tonics and cups of tea.Continue Reading
by Hannah Rose
Now is the winter of our discontent
Richard III reimagined by The Crude Apache Theatre Company
23rd Nov – 3 December
The Crude Apache Theatre Company will be performing a striking adaptation of Shakespeare’s bloodthirsty Richard III at the Shoe Factory Social Club in Norwich. A post-industrial dystopian world awaits audiences, as the Company prepares to throw them into this sinister tale of the power-mad and murderous.Continue Reading
by Jonathan Lee
In the post-imperialist Western world, liberal society is becoming ever more self-aware of social and cultural sensitivities, most evidently in the influence of the arts as a vehicle for perceptions of race, gender, sexuality and culture. Cultural appropriation is a topic hotly debated, and one where the divide between appropriation and appreciation can sometimes be uncertain. This ambiguity and subsequent argument is usually tied to power relationships, dichotomy in stereotypes (e.g. black hairstyles being perceived differently on white heads) and most often, the struggle for the appropriated culture to control its own identity.
The struggle for Roma to self-determine their own public identity — that being which is perceived by those outside of the Romany community — has historically been dominated by stereotypes of the ‘Gypsy other’. These myths, biases and often outright lies likely stem from the Middle Ages with arrival of the Roma in Europe. In an age of relative racial homogeneity, the Roma appeared as a foreign, outsider race whose dark countenance was associated with evil in a time of church hegemony and bigotry. The associations forged with the Roma during their early arrival were compounded by subsequent centuries of persecution and hatred, often based on conceptions of ‘the Gypsy other’ rather than interactions.Continue Reading
by Carmina Masoliver
Recently, I went on a school visit to see To Kill a Mockingbird at The Barbican, and whilst I think the actors played their parts incredibly well – especially Zackary Momoh, who played the role of the falsely accused Tom Robinson – I’m not writing here to give a glowing review. I read the book around the time I started my job at the school three years ago, yet the play, adapted by Christopher Sergel, had a different impact on me.
Actors slipped in and out of character to read directly from the book, narrating through a multitude of different accents, obviously showing that they were each sentimentally and emotionally affected by the text. This sentimentality, however, was lost on me, and as the production drew on, I came to think of it as unnecessary that it was being heralded to such acclaim in 2015.