About Amber Onat Gregory

Artistic Director Tell me a Tale

The Culture of Child Abuse

I was in Dublin this weekend and happened to walk past an outdoor art installation ‘The Culture of Child Abuse’ in Temple Bar.  A sign read:

The Ryan Report details a catalogue of systematic, recurrent and widespread sexual abuse of children and teenagers.  Abuse on such a scale conducted over a length of time propels these abuses from standard time-limited crimes into a more serious category. They are in effect a torture of the innocents, these tortures represent a ‘crime against humanity’

These perpetrators and the institutions, both public and private, which condoned them should be held accountable of their actions.

The judiciary of the Irish State failed to provide the victims with effective justice, now, the Irish State should be brought before the European Court of Human Rights in Strasbourg.

The artwork struck me as a powerful example of how the arts can be used to give voices to the unheard- those who have been let down by our social care system.  So, as individuals what can we do in our own communities to support vulnerable and excluded groups?

Theatre Review- Fela!

 

FELA!

Theatre Royal Plymouth

2 – 4 June at Drum Theatre

£12 – 28

7.30pm

2 hours 35 mins

Video clip: FELA!

The first word that left my mouth as I walked into the Dress Circle to the extravaganza that is Fela! was WOW.  A live band on stage is playing brassy afrobeats (a band so large that I couldn’t even count all the members…8?…12?)  The stage is buzzing with life and rasta colours.  Brechtian style screens display political newspaper headings and 70’s style rolling video clips of merging shapes and shades.  Life and energy encapsulates the stage. WOW.

When the dynamic Sahr Ngaujah (playing Fela Kuti) starts the performance with some audience participation I look around nervously.  As a storyteller myself I love participation in shows but the audience demographic surrounding me was certainly the least diverse I have ever seen in a theatre.  My concerns however didn’t seem to affect anyone else and I was astounded to see 10 minutes later middle aged white women thrusting their pelvis’ to some afrobeats with glee.  It was then that I knew this production was something special.

We then proceeded to go on the wild ride that was the life of Fela Kuti.  We visited countries around the world (including the US where he was inspired by the Black Power Movement) and listened to the beats that made the music of Fela.  Unfortunately there was no program for this performance so I don’t know the name of the VJ who I would like to credit because the projections throughout the show made the performance for me.  They brought these cities alive and then we finally found ourselves back in Lagos and even onto a mysterious spirit land where Fela becomes reinstated with his Nigerian culture.

Sahr Ngaujah is a captivating storyteller and musician and the audience loves him.  I did however feel at times that there was a large cast and that they could have been used in the story more rather than just dancers (though they are exceptional movers and shakers) and the representation of his 27 wives.  One of the most powerful parts of the production was when the women did become characters who had been beaten, raped and killed by the oppressive regime and although they did not speak they suddenly transformed into individuals which was a powerful moment.  One strong female character in the production is Funmilayo, Fela’s activist mother- played by Melanie Marshall. Her spine tingling voice is outstanding.

Like many films which are true stories this production does jumble up and significantly edit large details out of Fela Kuti’s life.  At times Fela’s path seems more like the hedonistic musical journey of a rock star rather than a strong political leader who wanted to become a president.  Saying that- this touring show, produced in association with the National Theatre and supported by Plymouth’s Theatre Royal is sure to lift up spirits of audiences in a time when the arts are not high on the political agenda.  We are cutting already tight theatre budgets when shows like Fela! display how an audience can embrace other cultures, learn about how colonisation affected countries and how to shake their British bums!

 

Theatre Review- Do We Look Like Refugees?!

Do We Look Like Refugees?!

Theatre Royal Plymouth 1 – 4 June at Drum Theatre
£8 – 12
7.45pm
Running Time 50 mins

After being so emotionally torn apart by Asylum Monologues (Actors for Human Rights) in 2007 due to which I have since been creating arts and theatre programs for asylum seekers and refugees, I was extremely excited about this production. Do We Look Like Refugees?! was developed as a part of an ongoing three-year partnership between the Rustaveli Theatre in Tbilisi and the National Theatre Studio.

Written by Alecky Blyth (The Girlfriend Experience) this piece is verbatim theatre which is the heart of the company she founded, Recorded Delivery. Recorded delivery is also a specific technique that is sometimes used in verbatim theatre where edited recordings are played live to the actors through earphones during the rehearsal process, and on stage in performance. The actors listen to the audio and repeat what they hear. They copy not just the words but exactly the way in which they were first spoken. Every cough, stutter and hesitation is reproduced. The actors do not learn the lines at any point. By listening to the audio during performances the actors remain accurate to the original recordings, rather than slipping into their own patterns of speech.

The story is set in the Georgian War 2008 when fighting broke out between Georgia and Russia in South Ossetia, a northern region of Georgia, which is claimed by both countries. It is estimated that around 26,000 people had to flee their homes and move into Internally Displaced Persons (IDP) camps. At the time when Russian troops defeated the Georgians and advanced on Tbilisi there was a media frenzy and the EU eventually intervened and a ceasefire was reached. Since then we hear no more about it but tensions remain between Georgia and Russia and Georgians are still unable to return to the disputed territory. The play was created from audio recordings collected from Tserovani IDP camp, 20 kilometers from Tbilisi. It was powerful to see a production based on an event that happened recently but is no longer talked about. We often forget that when a piece leaves the media that people in those stories have to keep living them many years after we read about it.

Having the performers wear earphones throughout the entire performance and sometimes being able to hear the faint original voice through the earpiece is a reminder to the audience that the actors are reliving lives. The stories we hear vary from short amusing anecdotes to more startling accounts of what displaced persons experienced. The staging was minimal and with clothes racks on either side the actors would be consistently changing characters with the help of a prop/costume adjustment.

The backdrop was a large screen displaying images of everyday life at an IDP. Often it showed basic images of an official persons desk, the landscape or a war tank. What was unique about this production was the detail of the everyday. Often in performances regarding traumatic experiences of the oppressed the focus is to shock the audience into feeling sorrow for the characters on stage. Do We Look Like Refugees?! takes the braver route of the of the less shocking moments, not of the people who were killed or tortured but instead the lives revolving around hairs salons, marriages and births. In this subtle fashion the story gently tells us of the people who have enough to eat and live but may never be allowed to return home.

The play was spoken in Georgian and whilst I am an advocate for people having the right to speak their own tongue in performance and not needing to speak English to attract audiences- the English subtitles were too high on the screen. This may have been because it is a touring production and the seating arrangement and screen is likely to differ in each venue. However, because of this the audience are forced to choose if they want to watch the powerful performances of the actors- or if they want to know what was is being said in the story. I flitted between the two and as a result I felt that I missed large chunks of the tales and with actors changing character so much I did become confused.

The highlight of the performance for me were the two short songs of which I would have liked to have heard more of. It was in this moment that the audience could sit back and relax and not have to worry about where to look on the stage. The performers were talented musicians and their singing voices were rich and filled with emotion. Having recently finished a project at a detention centre where asylum seekers are held by immigration the songs reminded me of those that I heard many detainees sing and they touched my soul. Continue reading