In the midst of a crazy busy choir week, it’s good to escape to another time and place for a while and let someone else worry about providing the entertainment. So taking in a brand new show at Chickenshed seemed just the thing to take my mind off my responsibilities for a while.
The weather was not exactly on our side and neither were the Chase Side buses. So VK and I hopped in an uber for the last mile or so, which might be my Chickenshed hack going forward. VK is still on crutches but seems to be a bit more motivated when theatre is involved. As she proudly told me, she’s been to the theatre four times since breaking her ankle. I thought we’d had a slow theatre year so far but when you say it like that, it’s not so bad. This was the fifth time. More theatre trips than French lessons apparently.
Quelle histoire!
She’s also been thinking about 1950s racism this week, thanks to an unexpected word usage from her favourite character in “Lord of the Flies”. I had no idea that word was in that book and it turned out that it had been censored in the edition she’s reading…but it sparked a discussion about historical context, which chimed with the disclaimer for this show. It’s about racial tensions between the black and white communities of the 50s and the trigger warning mentions that the play uses attitudes of the time. It also gives a few spoilers for the plot so yknow, don’t study it closely.
The world of the play is an almost-historical one. It’s set in Forest Hills, which may bear some resemblance to Notting Hill, and there’s a character called Osmos Floozeley…you can guess who that’s based on. So it’s not strictly based on a true story, like “The Washing Line” was but it is based on some things that might have happened within that context.
There is quite a complex set of characters to get to know but all the threads come together nicely in the second half. There are the kids (Zeeko and Romy, tonight played by Kayla James and Karl Leyens), the teens and their parents. Then there are the nationalists, led by Rob Awol (Jimmy Adamou) who abuses black people in public and beats his daughter Madeline (Tilly Morton) in private. As you can tell, there are some intense themes in this play but there is plenty of lightness too – out of the tension, creativity flourishes and Carnival is born. Using the children and their artwork as a framing device works well to give the situation an air of innocence. They are tasked to collect stories and scenes from the neighbourhood, so act almost as narrators and comic-book style illustrations appear on the screens throughout the piece, showing key scenes as they’re happening. The two child leads did a great job of juggling their spoken and sung lines as well as being on the stage for a large part of the action.
The teens represent the bridge between different groups, with white Jackson (Felix Figgis) and black Theo Junior (Ajani Onaolapo) trying to rearrange their classroom seating plan so they can sit together, along with support from their mixed-race friend Diello (Kailee Fisher). However, this is the 1950s and Theo is forced to sit at the back and Jackson at the front. It’s a stark illustration of what life was like for those trying to overcome divisions. That scene also had one of the biggest laugh-out-loud moments where the “Our School is English” song referenced Jesus being turned away for not having a British passport. VK certainly laughed out loud anyway.
The teens are also responsible for a teaching moment where they are lectured on respect by Jackson’s father Isaac (Jonny Morton) after harassing a shy disabled man. These teens might be groundbreaking in their racial equality but they still represent the idiocy that teens occasionally get up to.
The grown ups mainly focus around solicitor Isaac and his colleague Iris (Cara McInanny) as they strive for “Justice for All” as well as organising the carnival. At one point, Isaac is accused of being a “white saviour” which might be a bit of a modern concept but I’m sure the idea was there in the 50s, even if the exact phrase wasn’t. It is strange to see Jonny Morton playing a nice guy, after some notable villain stints, but he is very convincing in the role. Cara McInanny is a Chickenshed stalwart and her motherly role on stage probably reflects her mentoring role behind the scenes. She also wrote some of the songs I believe. Her voice is always impressive and she’s given a real chance to shine in the final song – “The Wrong They Knew”.
But I’m getting ahead of myself. There’s plenty that happens before that point. The first half of the play introduces the characters and the police oppression they live under (“Routine Check”) before moving on to the school scene and then Isaac and Iris setting up a Legal Aid stall. It’s interspersed with vintage newsreels as well as bits of narration from the children. There’s a lot going on but by the end of Act 1, the main conflict is being set up as the nationalist leader’s daughter Madeline develops an obsession with Theo’s dad (Theo Senior, played by Shiloh Maersk). As tensions grow, the company sing a sinister version of “There was an Old Lady Who Swallowed a Fly”. There are a few moments during the piece where nursery rhymes and folk songs are used as incidental music and this is the most striking example, taking a simple children’s rhyme and turning it into something much more threatening. Act 1 finishes on a cliffhanger, which threatens to destroy even the fragile peace that the residents of Forest Hills know.
Then we went for ice cream (Strawberry for VK, Mango and Passionfruit sorbet for me) and chatted about how we thought things might play out in Act 2. From the content warning, I was guessing it wouldn’t be great for Theo Senior.
Act 2 was intense but VK and I agreed it was even stronger than Act 1, which is unusual in theatre (cough Hamilton, cough). The tensions grew and boiled over into racist riots, with the nationalists trying to smoke black families out of their homes. This led to one of my favourite moments, which was the song “Weaponised”. The two groups are dancing on either side of the stage – the nationalists are doing rock n roll style moves on the right, while the black families and their friends are dancing to a more reggae-infused tune on the left. The song cuts between each group until they finally clash in the middle. This being Chickenshed, the dancing is top notch and although there are 200 people on stage at times, everyone knows where they’re meant to be and how their part contributes to the whole. It’s not surprising, after we’ve seen so many brilliant productions, but the effect is always dazzling. There’s always a lot of energy in these routines but increasingly sophistication too, with precision partner work and tricky lifts being held in place. The backflips from the nationalists were particularly impressive – I might not like their attitudes but gosh, they’ve got some good moves.
A quick word about the set too, which was also impressive. Some large wooden slatted pieces on either side of the stage convert to a courtroom, a classroom, a street scene and so much more. The walls are daubed with racist graffiti and there are so many little details that give it an authentic 50s feel. The costumes too are very authentic – all stiff petticoats and immaculate police uniforms. It really helps to immerse the audience in the world of Forest Hills.
I won’t give any spoilers about how the story turns out but I can say that it’s bittersweet. Although progress is made, and dances are danced at Carnival, there is loss and pain along the way and a feeling that this will never quite be resolved.
Well yes, look at the political landscape today and the rise of Reform. If we ever stopped worrying about this, it’s time to start worrying again.
So a timely, powerful piece with something important things to say about race and prejudice but also with a lot of joy and heart. It will make you think, it may make you cry but it will stay with you. At the end, VK was the first one her feet clapping and she said it was brilliant. What more recommendation do you need?
“The Wrong They Knew” is on at Chickenshed until 28th March. Click here for tickets and more info.
Disclaimer: I received press tickets in exchange for a review. All opinions remain honest and my own
