Tag Archives: The Space Theatre

Festen Theatre Review

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FestenTheatre ReviewA word of warning: Festen is not for the light-hearted. It will leave you sickened, violated and shocked and this is by no means a criticism but credit to the cast for pulling off such a raw production.

 

The title itself conjures up thoughts of a happy, joyous occasion and the audience in the intimate Space theatre almost feel a part of the 60th birthday celebration.

 

Successful patriarch Helge marks his special day with his closest family and friends but the evening itself becomes a platform for the party to confront ghosts of the past. 

 

As eldest twin, son Christian, stands before his proud father, we note there is no personal contact when they greet each other, only an exchange of words and then we learn that Christian’s twin sister, Linda, committed suicide.

 

Helge asks his son to say a few words at dinner as he fears he may be overcome with emotion if he has to give a speech.

 

During the first course, Christian stands before his relatives and gives his father a choice of two speeches; one in a yellow envelope and one in a green envelope.

 

As he picks the green envelope, Christian says he’s made a good choice as he recalls happy memories of the family. But then he reads out: “And do you remember when you continuously raped me and Linda on the green sofa?”

 

In a split second, the clean man, the man of steel, Helge, has his reputation shattered. Festen, as well as reminding me of a celebration, also brings to mind the word ‘fester’. And for Christian, the suicide of his sister and the painful memories of his childhood will no longer fester in his thoughts – he’ll vocalise them at his father’s 60th birthday.

 

The family attempts to continue the celebration but the moment has been lost forever. And just when we think there are no more surprises or incredibly awkward moments, Christian re-enters during the main course and reads out his sister’s suicide note. She couldn’t bear to continue her life anymore as her father had started to take her again.

 

The servants seem to forget their place and congratulate Christian for standing up to his father and finally revealing his monstrous character which he has hidden for so many years.

 

At breakfast the next morning, the family attempt to come to terms with the truth and as soon as Helge enters, the atmosphere becomes ice-cold. Michael, another of his sons gets up to take his baby girl away from the grips of his paedophilic, incestuous father.

 

Festen reveals how behind a loving, successful family, there are painful truths and soul-destroying secrets. The expert pauses of silence round the dinner table enabled the audience to breathe each breath and watch the family’s eyes dance round the room as the gripping storyline took hold.

 

There were also some incredibly uncomfortable scenes. First when Michael and his wife Mette have sex following a violent argument. Then the moment Christian reveals to the family that his father raped him and his twin sister when they were children and finally when Helene, another daughter invites her black boyfriend to dinner. Michael jokes that a monkey’s joined the party.

 

Rowan Finnegan who plays Christian was simply fantastic. We saw all his emotions in stages, from the calm demeanour as he greets his father; to his singing and dancing round the table to celebrate his birthday to the stern look as he reveals the sordid past and smashes his fist on the table in anger.

 

There are some plays you enjoy and there are some you’ll never forget. Festen is certainly one which had me gripped and will be remembered for years to come. It’s another notch to The Space Theatres brilliant production list.

The Gut Girls | Theatre Review

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Gut-girls-webSet in the grimy depths of Edwardian Deptford, The Gut Girls was unexpectedly one of the best theatre shows I have seen, easily rivalling the productions staged on the West End.

 

The six strong-spirited, feisty women slog for 13 hours a day in the cattle quarters, artfully removing the offal, entails and entrails of meat before it is fit for the butchers.

 

Their mouths are as sharp as the knives they use; often a defence mechanism to taunts that they’re lower in class than the common whores who run the night.

 

Wonderfully original in plot, the play launches into the hustle and bustle of cockney London life with Annie (Emma Laura Canning) starting her first day at the gutting sheds.

 

Only 16, innocent and a little naïve, she struggles to stomach all the blood, flesh and guts which is ‘enough to stagger a horse’, but the other five quickly take her under their wings and the girls all laugh and joke despite their gruesome work.

 

It is then that Aristocrat Lady Helena visits the girls, inviting them to her ladies club to teach them manners, etiquette, sewing and readings from the Bible to better their prospects should they find alternative employment as maids or nannies. 

 

In a twist of irony, the girls keep saying that as long as there are meat eaters, they would have jobs and they laugh off the ‘barmy idea that people will only eat vegetables’ in the future.

 

And as if on queue, when Maggie (Caitlin Innes Edwards) the oldest, unmarried member of the group resists the advances of Edwin, Lady Helena’s associate, he vows to have her removed from her post after she threatens him with a knife.

 

All the girls are laid off but those who attended the ladies club are given good references but Maggie, who failed to go, struggles to find work and does the only thing she can to survive – by marrying bar landlord Len.

 

Once the women are no longer ‘the gut girls’, their friendship declines, their strong, independent and somewhat feminist nature seems to crumble and they pass one another on the street like strangers, fearing for their jobs and improved reputations.

 

The Gut Girls masterly depicts the struggles of the social classes, the plight of women against their masters, the dim future they face if they fail to marry and it also highlights the political and religious thoughts of the day.

 

Performed at a converted chapel, The Space Theatre in the Isle of Dogs, the actors were faultless, the stage and audience seating area were used to maximum effect, making it seem we were part of the show and the change of scenes were seamless.

 

All the actors proved themselves on the opening night, but hats off to Kate Craggs who played cockney Ellen as well as Lady Priscilla, Emma Laura Canning, the lead of Annie and Catherine Thorncombe, who played Emily and Edna.

 

The show led my emotions perfectly, from tears at the moment when Annie reveal’s she was raped by her master’s son, to tears of laughter as the girls mimic the sounds of tea being poured in a role-play exercise at the ladies club.

 

Vividly entertaining, expertly executed, The Gut Girls should aim much higher than that of a fringe production. I certainly won’t forget this show.

 

The Gut Girls, a Rum and Monkey production by Sarah Daniels and directed by David England, runs till Saturday 25 May. Tickets (£14/£10) can be bought from www.space.org.uk or by calling the Box Office: 0207 515 7799.