Politics, the Creative Process, and 90s Musical Jams: An Interview with Jesse Meadows from the Wardrobe Ensemble

Original Interview: The Reviews Hub

Education Education Education

Education, Education, Education: then, a nineties political mantra, now a nostalgia-fest of nineties music, Tamagotchis, and timely political poignancy in a riotously funny and reflective piece of theatre from the Bristol-based Wardrobe Ensemble. Putting politics in the comprehensive, the play is a charming charge through the hopeful optimism of teachers and children alike in the aftermath of Tony Blair’s election, as well as the changes and truths that only came with time and perspective in the twenty years that have passed. Company member Jesse Meadows talks politics, the creative process, and 90s musical jams.

The play is the perfect mix of 90s nostalgia, political poignancy, and feel-good fun, so what’s it like to perform night after night? ‘It’s as important to us that people have a good time and a good night out at the theatre! Those points that we’re hitting that make people go, ‘oh God!’, those poignant moments, we can reach people through the funny, and through making them laugh.’

It’s also a period piece, and one that’s ‘very much set in the nineties and that’s very fun to play with.’ With everything from Cool Britannia to Britpop, Tamagotchis to Take That, ‘all the references we make are funny now because they’re set in this world of fake nostalgia’, and it’s fun to ‘take people on that memory journey with us’. And twenty years is lifetime in politics and pop culture. ‘We thought a lot about 1997. We were really interested in the hope and positivity, the promise and excitement’ of its politics, and there are representations of that in the play: ‘we put up Union Jack flags everywhere because that was really ‘in’, just think of Geri in the Union Jack dress! But now, you put Union Jacks up and people cringe. Pride for your country has just totally flipped. It feels like a divided country now, whereas then it felt like coming together.’

While politics polarise, pop culture has the power to unite: in the words of hapless headteacher Hugh, in light of the election the teachers must remain politically impartial in all classes, but, ‘we did win Eurovision, so talk about that as much as you wish’, and it’s something Jesse echoes, as ‘things like winning the Eurovision Song Contest, these are the things that unite us as a country’.

This playful approach to politics is also found in their creative process, despite the divisive events that were going on whilst devising Education, Education, Education.  Continue reading “Politics, the Creative Process, and 90s Musical Jams: An Interview with Jesse Meadows from the Wardrobe Ensemble”

5 Favourites: 2017 Theatre Favs

War Horse UK Tour at the Bristol Hippodrome

War Horse may be a show about horses, but it has the most heart, the most heroism, and the most humanity of any show you’ll ever see. The tale of Joey the horse and his boy, Albert, torn apart by war and wrestling to return home together, is told in a visceral, evocative, and immensely moving way with hope and humanity at its heart.

Joey is a horse half-thoroughbred, half-draft, and it’s homogenous to the ingenious design and direction of the production. Half of the experience is pure, refined, performance that feels real, in the acting, the affect, the inhuman affliction of warfare, and the other half is creativity and craft working in front of us to make thrilling, theatrical magic.  The horses are played by three puppeteers – a head, a heart, and a hind – that stamp, snort, and stand up on their hind legs like horses, but also think and feel like humans. This is war in all its brutality, but also its overwhelming bravery: the mechanisms and machines and mercilessness are all laid bare, but so are the men and their mounts.

At its heart, War Horse is a stellar example of ensemble storytelling for a supremely talented company, where hand-puppeteered horses and humans working in harmony prove there’s hope for all humanity to imagine a world that works together.

Read the full review here!

The Royal Ballet’s Live Cinema Season

From the charm of Frederick Ashton‘s choreography, with ‘The Dream’ truly dreamy, ‘Symphonic Variations’ simply visionary, and ‘Marguerite and Armand’ emotionally arresting, to Woolf Works, where Wayne McGregor does with movement as Virginia Woolf did with words, to Christopher Wheeldon’s Alice’s Adventures in Wonderland, an eclectic spectacle of technicolor creation, to the musical suites and magical sweets of The Nutcracker.

The depth and diversity of dance on offer is a delight, and the performances are complemented by insightful interval videos and the opportunity to be privy to the most intimate moments of a dancer’s performance, from rehearsal to retirement, as for Zenaida Yanowsky after Marguerite and Armand. After her final curtain, it was beautifully poignant to see her partners from the Royal Ballet’s roster past and present, including Carlos Acosta, Jonathan Cope, and Nehemiah Kish, as well as her partner in the piece, Roberto Bolle, present her with bouquet after bouquet of flowers. A truly fitting finale to both a wonderful career and an evening of charming works.

Wardrobe Ensemble’s Education, Education, Education

Twenty years ago, in 1997, it was a time of Take That, Tamagotchis and British teachers celebrating in the staff room after Tony Blair and the Labour party were elected with the mantra ‘education, education, education’. Wardrobe Ensemble’s eponymous play unpacks the politics of this cultural moment with wit, warmth, and winning charm, exploring the optimism of possibility, and, in turn, the realism that cuts through the 90s nostalgia with political poignancy.

Set in a well-meaning but not-quite-comprehensive comprehensive secondary school in the immediate aftermath of the election, the Ensemble create wholly believable characters, perform a script that’s so slick and so quick that it easily elicits laughs from its wit alone, and bop along to a nostalgia-fest of 90s bangers.

In Education, Education, Education, Wardrobe Ensemble capture the politics of yesteryear with the same anxieties of our present, managing to be riotously funny and quietly reflective; as head teacher Hugh says, in light of the election the teachers must remain politically impartial in all their classes, but, ‘we did win Eurovision, so talk about that as much as you wish’. The show ends blasting the election anthem ‘Things Can Only Get Better’, and there’s hope, as for the Tamagotchi and its reset button, that they can.

Read the full review here! Wardrobe Ensemble are back on tour with Education, Education, Education in the new year – buy tickets here for the ultimate 90s nostalgia fest!

Bristol-based Site-specific Theatre

Raucous‘s Ice Road at Jacob’s Wells Baths 

It’s late. We’re walking into a snow-covered scene, carrying a rose to ‘pay our respects’, and we’re greeted by rows of radios that remind us of gravestones that we pick up and put around our necks – and just like that, in walking from one room to another, Raucous’ Ice Road has taken us back in time and into a war-torn Russia. But, this impressively immersive performance really begins in the bar beforehand. With propaganda posters plastering the walls and lights flickering in their lanterns – and after a shot of vodka (when in Russia!) – three orphans, Leah, Tati, and Zoya, move amongst us, mouthing-off in Russian, attempting to find the missing Kub. After leading us by lantern into the performance space, the story follows their survival in a volatile landscape, and just what we’ll sacrifice for warmth in the winter and refuge from war, from a flute to your fellow man. 

Masters of the immersive, the emotive, and performances with a political immediacy, Raucous made use of the vast, cavernous Jacob’s Wells Baths in Bristol to tell this story of survival, and they used every inch of it: a structure of scaffolding and stepladders stretches to the ceiling, propaganda posters fall, seemingly, from the sky, there’s snow underfoot, and even the walls have a part to play.

Read the full review here!

Insane Root‘s The Tempest at St John on the Wall’s Crypt 

‘Be not afeard. The isle is full of noises,’ a muddling, older man murmurs to us, collected in a crypt beneath a Medieval church in the centre of Bristol as cars and buses and bits of lost conversation rumble along beyond the low door closed behind us. ‘The isle was full of noises,’ he amends, and with that opening amendment in tense alone, Insane Root Theatre have respectfully but perfectly repurposed The Tempest, Shakespeare’s most philosophical, most reflective, and most indefinite play.

The man, aged and inelegant, is Prospero, but this is the usurped ‘prince of power’ without his power; this is Prospero at the end of the play, or rather, many-a-year after the revels of the play and the epilogue’s applause has ended. Alone in his library, a homely, hearth-like creation from Sarah Warren covered in drapes and decorated with books and bric-a-brac, Chris Donnelly’s Prospero is close to the end, and not just because he’s been placed in a crypt. Carved and cavernous, it’s the corporeal and acoustic setting for Prospero’s recount of what happened to him.

Insane Root Theatre’s The Tempest balances Shakespearean tradition with exceptional adaptation, and through repurposing the text, the temporality, and the tone, the cast and creatives get closer to the heart of the play than any production of The Tempest I’ve seen, and it’s all happening right beneath the heart of Bristol.

Read the full review here!

Hamilton: An American Musical

The Room Where It Happens

This is it: ‘The Room Where It Happens’. It’s here. ‘It is Hamilton, and after a fortnight of previews, the musical chronicling the finding, founding, and fight for American freedom through the life of founding father Alexander Hamilton, it’s finally open at the Victoria Palace Theatre in London’s West End. With so much hype and hysteria, just what is it about Hamilton that makes us all want to be in ‘The Room Where It Happens’?

Telling history through rap, hip-hop, and R&B, composer Lin-Manuel Miranda makes America’s past matter through contemporary music and a cast-of-colour who play the mostly white political players of the late-18th century. With characters and songs taking their cue both from the founding fathers who wrote America into existence and the rappers and musicians who use real-life experience to write their way to respect, Hamilton fuses the present, the past, and the future – the finale asks, ‘Who Lives, Who Dies, Who Tells Your Story?’ – into a harmonious whole with a heart that beats and breaks and aches. Hamilton tells not only a political history but a private one, with the story centring on the opposing views of Hamilton and his perpetual rival, Aaron Burr (Sir): one waits for it, the other works non-stop; one stands for nothing, the other rises up; one dies, the other survives.

What Hamilton has is a humanity, a humility, that makes it inimitable. As for Alexander in his America, being in ‘The Room Where It Happens’ is to be at the heart of the revolution, to see a stage that reflects real-life voices, faces, and feelings, to find not theatrical perfection, but an unforgettable phenomenon. Let’s hope, as Hamilton says, that ‘this is not a moment, it’s a movement’.

Read the full review here!

Review: Wardrobe Ensemble’s Education, Education, Education

Original review: Underdog Reviews

Education Education Education

90s nostalgia cut through with political poignancy

Twenty years ago, in 1997, it was a time of Take That, Tamagotchis and British teachers celebrating in the staff room after Tony Blair and the Labour party were elected with the mantra ‘education, education, education’. Wardrobe Ensemble’s eponymous play unpacks the politics of this cultural moment with wit, warmth, and winning charm, exploring the optimism and the realism that cuts through the 90s nostalgia with political poignancy.

Set in a well-meaning but not-quite-comprehensive comprehensive secondary school in the immediate aftermath of the election, the Ensemble places the individual at the centre of political change. From the highly-strung but ever-hopeful holistic teacher hopelessly losing control of her classes to the stroppy student trying to petition her teachers for a place on the school trip. Wardrobe Ensemble is unmistakably a devising company, with each character so well developed in communication and movement that even when saying the same things or doing the same dance moves, the characterisation is unmistakable, and the creative doubling of each teacher as a student sharing the same name as their actor counterpart is clearly distinct.

As the plot balances the optimism and pessimism of a new political landscape, the play is a practiced blend of the lifelike and the stylised: Continue reading “Review: Wardrobe Ensemble’s Education, Education, Education”