Tag Archives: Travis Alabanza

“As You Like It” at Shakespeare’s Globe

The potential for Queer interpretations when it comes to this Shakespeare romance is clear. Putting a spin on our heroine Rosalind’s role-playing isn’t new (Cheek By Jowl’s 1991 production is still my favourite example). But director Ellen McDougall’s production, which embraces all kinds of identities, is full of ideas and a hell of a lot of fun.

McDougall and her cast enjoy the venue. As well as the gender-fluid casting, there are plenty of touches, like the audience participation, that feel characteristic of Shakespeare’s Globe. The energy is high, especially from our lead lovers Rosalind and Orlando, played by Nina Bowers and Isabel Adomakoh Young respectively, who both bound around the stage. There’s strong comedy from Macy-Jacob Seelochan’s Celia (a very neat performance) and Alex Austin’s Jaques. Ambiguity is emphasised and difference played with to raise questions.

Transformation is the key: this forest of Arden is a place full of potential. The Queer politics are as broad as possible – the approach might be called holistic. Ideas about nature run through the show (lavender and apples are handed out to the audience). Much is made of Orlando’s servant Adam dying, with an effort not to throw “unregarded age” into a corner but see it as part of cycle of life. It’s a shame that, despite a strong performance from Stephanie Jacob, the moment isn’t moving. But the ideas are interesting and have a firm base in Shakespeare.

The music, which features heavily, isn’t a successful as it could be. Using pop songs in Shakespeare is common enough, but mashing up well-known tunes is complicated. Composer Michael Henry’s work is accomplished but proves too much for a cast who are not, primarily, singers. Max Johns’ costumes, though, are excellent, embodying the show’s intelligence and sense of rebellion. Johns transforms elements of historic clothing to play with gender and sexuality. Each outfit is bright, fun and smart in every sense of the word.

As You Like It isn’t as enlightened as most of us would like. There’s no ignoring misogyny or class and, in the end, order is (quickly) re-established. But if anywhere kicks against preserving Shakespeare just for the sake of it, it’s here. The production has additional text from Travis Alabanza to boost ideas about family and friendship. Efforts are made to emphasise joy and jokes. And, if things get too tricky, we’re told we are going to skip to the next scene! This is the night’s finest, winning moment. McDougall bring a sense of honesty – of working things out – that is exciting.

Until 29 October 2023

www.shakespearesglobe.com

Photos by Ellie Kurttz

“Overflow” at the Bush Theatre

Trans activist Travis Alabanza’s new play is set entirely in a toilet. Given that public conveniences are currently contested places the location is, if a little depressing, appropriate enough. But what Alabanza does within this limited space, and what is achieved with the play’s careful focus, is remarkable.

A theatre blog isn’t the best place to discuss trans rights. Like the Twitter comments Alabanza’s character Rosie decries, the issues are complex and emotive. And this play certainly manages to speak more eloquently about them than I could. Theatre, in Alabanza’s hands, proves a stirring forum: the argument put forward is intelligent and elaborated with a human experience that makes for a powerful show.

Reece Lyons in 'Overflow' at the Bush Theatre
Reece Lyons

The key is Rosie, a well-written character brought to life in a strong performance from Reece Lyons, ably directed by Debbie Hannan. Smart, sharp and often witty, Rosie proves a fascinating guide as we learn her history – fun and fraught – through different toilets. From hiding as a child, to school pranks, then discovering her identity in night clubs, the space performs more functions than I at least ever imagined. The smallest room was a place of sanctuary… until recently.

Alabanza provides an essential dramatic twist for Overflow. For it seems that Rosie’s experience of toilets has got worse as society commends itself for being more liberal. The show is punctuated by knocks on the door from men waiting outside; Rosie is under threat. There are also discussions of how women have become more hostile to Rosie, making the space she considers her own one that she now wants to wreck.

The rage that culminates in the destruction of Max Johns’ clever set – the circular shape recalling an arena, adding to the drama – becomes understandable and also moving. And touches of bravado to hide her fear deliberately fail to convince: this isn’t what Rosie wants, rather the wish is to “swim not drown” in these metaphorical waters. It’s Rosie’s address to women – an appeal to sisterhood – carefully drawn together as the piece culminates, that provides Alabanza’s strongest points. And a hope for a kinder future.

www.bushtheatre.co.uk

Until 16 January 2021

Photos by Sharron Wallace