In light of our current political climate, we’re left questioning what the future holds – a nation built on the efforts of many cultures, revealing deep rooted tensions heightened by our current political head of state. Migration is the root of all of our stories, whether directly or indirectly; the universality of migration a complex facet of our lives. Exploring this further in her current show NOTCH, writer and performer Danaja Wass draws from her own personal story of leaving Croatia to start a new life in Ireland for a better future. Ahead of the run, Danaja talks to us about exploring the show’s themes, how she approached creating the show and what audiences can expect.

A star on the rise, Award Winning Comedian Mo Omar has proved himself within the comedy circuit, having taken part in various competitions and events, most notably having performed on Harry Hill’s Clubnite on C4, and the Pleasance Comedy Reserve at the Edinburgh Fringe in 2019. Making an appearance at this year’s Vault Festival, Mo tells us more about how Canadian-Somalian rapper/poet/singer-songwriter K’naan (known here for his World Cup anthem in 2012 Wavin’ Flag) has inspired him and more!

Santi & Naz

Under the rumble of the Waterloo train tracks we meet Santi & Naz, two young girls living in India during pre-partition. These best friends are none the wiser to their political situation and with Santi being Sikh and Naz being Muslim, the threat of separation is approaching.  When Naz is introduced to her soon to be much older husband, Santi is concerned for her safety and tries to warn her of the dangers of not just this man but of the violence that is happening all around them. In their childhood fashion they create a plan to escape the marriage which ends in disaster.

The play explores friendship, childhood, loyalty and identity against the backdrop of huge political change. The play is wonderfully written by Guleraana Mir and Afshan D’Souza- Lodhi, showing the innocence of children who want to be friends regardless of their religions. Director Madelaine Moore uses every inch of the small space at The Vaults to create a vibrant picture of India.  There are so many beautiful references with the music and dancing in the piece which transport the audience to the small village where Santi & Naz grew up. Although this is not a true story, the performances from both Ashna Rabheru and Rose-Marie Christian feel so honest and true, reflecting the lives of many young girls in India during this time. They are able to capture the sweetness of childhood, as well as smoothly transition into young adults showing fear and understanding of what is happening to them. A pure delight. 4/5 

Sold

Sold follows the true-life story of Mary Prince, a slave sold from master to master. Mary’s story was lost in history until published in 1831, giving a voice to many others who, like her, endured life as a slave. Using song, dance, story-telling, spoken word and drums, this autobiographical piece is told to us with two actors but with the echoes of thousands of stories. As we watch Mary grow from child to young adult to writer, we witness the heart-breaking journey she takes and yet between all the horror she faces, comes out strong and leaving a legacy.

When asking the cast and the director Euton Daley to sum this play up in 3 words, this proves impossible. This show is passion, truth, rhythm, soul, heartache, it’s a journey and in Euton’s words,‘it is telling it like it is’. Both Amantha Edmead and Angie Amra Anderson tell this story in a way that cuts like a knife. The multi-roling makes it seem as through there is a whole ensemble of actors on stage, moving from character to character showing both the cruel masters, and the painful treatment of Mary and other slaves. Edmead’s ability to show joy in happier times in Mary’s life is incredible to watch, switching from fear and pain to strength, showing her connection to the character. With the drums acting like the heart-beat of the piece, Angie is able to show the contrast of traditions and culture against the relentless oppression, making the play even more powerful. An unbelievable piece of honest theatre, not shying away from the truth no matter how hard that may be to see.  4/5 

Reviews written by Sarah Wells.

Santi & Naz is currently showing until Sunday 2nd February 2020 at the Vault Festival 2020, to find out more about the production, visit here…

Sold is currently showing until Sunday 2nd February 2020 at the Vault Festival 2020, to find out more about the production, visit here…

Drawing parallels with our current societal landscape where we’ve witnessed youth violence on the rise, writer and performer Kalungi Ssebandeke travels back in time to Georgian England to give voice to little known boxing superstar Bill Richmond. Created as part of his drama school training, Kalungi presents Black Terror at this year’s Vault Festival from 28th January until 2nd February. Ahead of the run, Kalungi tells us more about exploring Bill Richmond’s narrative, what audiences can expect and what his plans are for the show post Vault Festival!

Timeless and troubling The Permanent Way is a damning diagnosis of a flawed system that undermines the individual’s voice. David Hare’s 2003 analysis of power and aftermath considers the individual experience in a system that puts financial success above all. Striking contrasts between those who suffer and those who make the problematic vindictive rules, Hare questions the status quo and poses the argument that perhaps it is not a broken system but a fully functioning and deeply exploitative structure.

We all have our own stories to tell, our lives a mixture of circumstances and obstacles that have shaped our present. Inspired by a childhood friend’s tough circumstances, musical performer and theatre maker Jeannette Bayerdelle crafted her award winning one woman show ‘SHIDA’, a show focused on family, friendship and love. Currently showing at The Vaults, the recently Off West End Award nominated show integrates rock, R&B, jazz and gospel music to give voice to her friend’s story. Ahead of the run, Jeannette discusses her creative process, working with Joshua Zecher-Ross and Noam Galperin on the musical aspect of the show and what she’d like for audiences to take away from the show.

Friends are your family away from home; a network relied up and formed usually within our formative years. Often told secrets our own families are not aware of, friends are a great source of support, impacting positively towards our own mental health and well being. These are probably one of the strongest bonds we’ll form within our lives. Rascal Theatre‘s Galvanise celebrates this notion, the power of the friendship bond particularly during our teenage years.

A topic receiving greater prominence within wider conversations is that of ‘cultural appropriation’; an issue regarding taking an aspect of a culture unfamiliar to an individual, an aspect of great significance and commodifying it for financial gain or trivialising it due to its aesthetic. Playwright Lekhani Chirwa explores this issue in her debut play Can I Touch Your Hair? Ahead of her 2 date performance at this year’s Vault Festival, Lekhani talks about the show’s themes, working with Ovalhouse, HerStory Festival and Blacktress prior to the Vault Festival and what audiences can expect.

It can so often feel that those that have gone before us wouldn’t have at all understood what perhaps we’re going through now, and vice versa. It can so often feel that historical greats, are in fact so great, that the normal day to day wouldn’t have phased them at all. However, what history books tend to leave out is the fact that these were normal people, just like us, who just so happened to change the face of our history. Cue Helena Westerman and Caroline Simonsen’s ‘Galvanise’; a show connecting the lives of three modern day teens and influential female historical figures. Ahead of this year’s Vault Festival, both Helena and Caroline talk about working together, integrating animation and following their debut hit show ‘An Act of Kindness’.

“We are part of the last generation to remember life before widespread internet access” – expresses Dean Elliott, co-founder of theatre collective New Public; a sentiment ringing true for many of us. There’s no doubt that we now live in an age of media excess; news now accessible by the click of a button, whether that be on a smartphone, laptop, TV, tablet… the list goes on. A swift generational shift, we’ll soon forget those days where we depended solely on print and TV to find out the latest global goings on, a time where we could escape the media at our own choosing. Dean talks to us about the ‘relentless media machine’ as New Public prepare to perform their topical show ‘White Noise’ at this year’s Vault Festival!