list.co.uk/festival Reviews | F E S T I VA L T H E AT R E
SPLINTERED Hilarious and thoughtful cabaret exploring queer identity in the Caribbean ●●●●● JAMES ROWLAND’S TEAM VIKING Idiosyncratic journey of friendship ●●●●●
FEMPIRE: CLEO, THEO & WU BY KIRSTEN VANGSNESS Bizarre tale that’s not so fantastical ●●●●●
Splintered is a weird and wonderful cabaret combining comedy skits with real interviews and personal experiences to explore the challenges of being queer in the Caribbean. Charlotte, Sanaa and Natasha are three outstanding
performers, engaging the audience in their struggle with empathy and flair. The repetition of some of the skits works well, while a queer version of Chicago’s ‘Cellblock Tango’ is the highlight of the evening. The performance then seamlessly moves on to touching interviews with queer Caribbean women, and dramatisations of the difficult experience of coming out. These scenes damn the faults of Caribbean homophobia while maintaining a whole-hearted celebration of the culture’s strengths. The evening ends with a declaration from the performers of where to go from here, which isn’t necessarily needed alongside the clarity and effectiveness of each act.
Splintered is the perfect combination of entertainment and political comment. It addresses intersectionality and proclaims solidarity and strength in an inclusive, welcoming atmosphere. (Rachel Baker) n Bedlam Theatre, until 25 Aug (not 20), 9.30pm, £10 (£8).
If anything of Team Viking is true, James Rowland is a dangerous man. In order to make good on a promise made to his closest friend, he decides to give him a proper viking burial, complete with burning boat (and inevitable criminal charges). It is a testament to Rowland’s warmth, wit and humour that Team Viking becomes an eloquent paean to friendship and not the litany of a psychopath on a rampage. Rowland finds a way to lighten the darker humour
in his tale by acknowledging how inappropriate it might be. Once the story takes a deeper turn – a friend dying of a rare and terminal cancer – he manages the transition through juxtapositions of fun and anguish, and a rough, jagged, episodic structure. Rowland’s doubts about his behaviour – and the question of how much of the adventure is true – transcend any traces of arrogance or self- satisfaction: the constantly shifting energy enthuses even mundane moments with the kind of childish grandeur that possibly inspired the viking funeral in the first place. It’s a virtuoso display of post-modern storytelling. (Gareth K Vile) n Summerhall, 16, 20, 23 Aug, 9pm £12.50 (£10); also as part of Songs of Friendship, 18, 25 Aug, 9pm, £25 (£20).
There seems to be a trend for theatre companies bringing ancient leaders to life. At this year’s Fringe, Sheila Atim is resurrecting Cleopatra in a great new play called Anguis, and in the West End, Six The Musical brings King Henry VIII’s wives back to life with the help of a musical soundtrack. Fempire: Cleo, Theo & Wu fits into this mould by
offering Cleopatra again, alongside a couple of other fictitious leaders from the past, in a musical about feminism. The ancient leaders are here to save poor wayward Earthling Lucy from herself. Too obsessed with her mobile phone, she has a bad track record with dating. And that’s the segue into a musical with wildly absurd space-themed costumes, a fictional space language and a twisting plot.
It’s supposed to be an uplifting, relatable tale and to show creator and Lucy actress Kirsten Vangsness’ credit, the bizarre script and great costumes do lend the show a sublime energy.
But it’s too woolly to convey its worthy messages, and the acting and singing doesn’t quite hit the mark enough to pull off the craziness. (Adam Bloodworth) n Assembly Rooms, until 23 Aug (not 14 & 15, 18, 20 & 21), 8.15pm, £10–£11 (£9–£10).
FULL CONSENT TO SPEAK ON MY BEHALF People with experience of care given a dramatic voice ●●●●●
Social enterprise Good Wolf is committed to using theatre to enable vulnerable people to participate in the arts and have their voice heard. Full Consent to Speak on my Behalf is a montage of verbatim conversations with people who have experience of care, and manages in 50 minutes to cover a remarkable range of experiences, both positive and negative. At a ferocious pace, the cast of four maintain an optimistic attitude, giving voice to many who are often deprived of a platform.
The setting is minimal, relying on the dynamic physicality of the cast and their ability to contain the moods and experiences of those who have been part of the care system. While fostering has changed, one theme that remains constant is the sense of instability; the treatment of young people who have reached a nominal age of independence is depicted sensitively through details of their frustration at the sudden removal of support, and the life-long impact is considered through short, revealing reflections. There is even time to ponder the importance of Jacqueline Wilson’s fictional character Tracy Beaker, a child in a care home who became a household name thanks to the successful CBBC series.
While Good Wolf’s intention is didactic – or at least questioning – their dramaturgy is incisive. With merely a few boxes and comic books for props and set, the ensemble embodies multiple characters and generates a positive atmosphere that finally reflects on the challenges of making verbatim theatre, and the risk of losing the voices of the interviewees beneath the theatricality of the presentation. As a candidate for the Sit Up Awards – which is dedicated to rewarding theatre that is engaged with serious issues – Good Wolf shows appropriate respect for its subjects, never forgetting the need to educate and entertain. (Gareth K Vile) n Greenside @ Infirmary Street, until 24 Aug (not 18), 3pm, £7 (£5).
14–26 Aug 2019 THE LIST FESTIVAL 83