From February 14th to 16th, the Kammerspiele presented four productions by the next generation of Polish directors. The focus was on new plays that diverged from dominant Polish theatre traditions and generated their own new stories and forms. The festival was accompanied by discussions and lectures that dealt with the collapse of democracy, the strengthening of right-wing populism throughout Europe and feminism as an international counter-movement. Experts in the fields of philosophy, sociology, art, and political science discussed important issues that concern not only Polish society but the whole of Europe.

Courtesy of Patrycja Mic.

In 1879, Henrik Ibsen’s A Doll’s House might have played to sold out audiences at its premier in Copenhagen’s Royal Theatre but was Denmark really ready for Nora Helmer to ditch it all and ‘live her truth’? Of course, 19th century Danes weren’t as woke as we are now and probably hadn’t heard of ‘living your best life’.

Courtesy of Marc Brenner.

Based on Nan Sheperd’s homage to the Cairngorms, The Living Mountain, Into The Mountain is a daring new piece of work that culminates six years of research from Simone Kenyon. Consisting of a two-hour hike followed by a unique contemporary dance piece far off the beaten track, this incredible performance has been the highlight of Take Me Somewhere Festival.

Performed as a part of Take Me Somewhere Festival, 100% Pop is somewhere in between a homage and a sequel to Grace Jone’s One Man Show. This immersive party of a performance deals with pop sound and imagery within a culture of global capitalism, questioning the validity of our obsession with aesthetics through movement and music.

100% Pop is more of a gig than a piece of theatre. Performed in Tramway’s second space with the seats stowed away, audience members stand as Nora Chipaumire and her fellow performer explore the space without boundaries. The setup of the space is incredible, small details ensuring that the entire thing feels like an acid trip from the eighties. It is a fresh new take on immersive performance that shatters the division between artist and audience, celebrity and consumer. The form itself is engrained with social commentary.

However, once I allow myself to succumb to the party, as Chipaumire imitates my static stance with an accusatory gaze, I begin to lose track of what is being said. I’m all for performance that forces the audience out of their comfort zone, but this seems redundant when doing so causes us to forget why we are there all together. I go to a gig to have a dance, I go to the theatre to be told something new. This doesn’t detract from my enjoyment at all, although I do feel many audience members feel incredibly awkward. Sadly the effectiveness of the performance is reduced by the intensity of its form.

Nonetheless, 100% Pop makes an important point about consumer culture, and the repetition of ‘revolution is not on Netflix’ hammers home the need for a return to a simpler time. Chipaumire is a clearly talented deviser of performance, I only wonder if her style is better suited to a different form.

Review written by Rachel Baker.

100% Pop was shown on Sunday 26th May 2019 at the Tramway Theatre. To find out more about the production, visit here…

Helen Edmundson adapts the late Andrea Levy’s adored novel for the National Theatre stage. Directed by Rufus Norris, the epic three-hour narrative is a triumph. The story follows those that were affected by Empire Windrush, the Second World War and British colonialisation, and is told by a company of 40 on the Olivier stage.

Courtesy of Brinkhoff-Moegenburg.

Inua Ellams strikes again with his signature rhythmic flare and sharp analytical eye. The Half God Of Rainfall merges Greek and Yoruba mythology in a humorous but poignant 80 minute piece that explores, masculinity, sexual violence and colonialism. 

The one-woman Funeral Flowers follows a 17 year old Angelique, who is both played and written by Emma Davis Edwards. With a mother in prison, a father out of the picture and a wolf in sheep’s clothing for a boyfriend, Angelique has some hefty odds to overcome to pursue her dreams in floristry. Directed by Rachel Nwokoro, the plot begins on a positive note. Edwards performs in a colloquial manner, laid back she chats with the audience as if they have popped over for a cup of tea and a catch-up. But with the fourth wall broken, Angelique begins to let us in, and with it we discover her harrowing experience.

Avalanche: A Love Story is a truly heartbreaking adaptation of Julia Leigh’s memoir. Directed by Anne-Louise Sarks, the one-woman play starring Maxine Peake details the emotionally charged journey of Julia battling all odds in an attempt to become pregnant. The single act play whips through its 90 minute run time with an engrossing narration of events that delves into, love, loss and an eye-opening commentary on IVF and its financial underbelly.

Courtesy of The Other Richard.
©The Other Richard

Father is a one-woman show by Francesca Bartellini, outlining her personal experience of abuse from her father as a young girl. Shows of this calibre are of increasing importance in the ‘Me Too’ era, and I am so glad that Bartellini has found a platform to express the atrocities committed against her.

Cora Bissett’s Fringe smash-hit What Girls Are Made Of has begun its Scottish tour this week with a week’s worth of shows at Tramway. This gig-style show tells the story of Bissett’s five minutes of fame back in the 90s, touring with the likes of Radiohead and Blur all before she had even turned 20. While the title shouts feminist anthem, the summary sounds a little indulgent to me. But, I could not have been more wrong. What Girls Are Made Of is an electric celebration of womanhood in an era when we have more opportunity, and inspiration, than ever.