Starring: Danielle Cohen Levy & Namer Golan.
Venue: The Warren Main House, Brighton Fringe
Website: Worst Case Scenario
This is the world premiere of a show by Danielle Cohen Levy & Namer Golan. An expert juggler, an acrobat and a dancer, a musician and inventor and a brave warrioress present an archive of 23 thoughts about conflict, collected over a single year. Everything you see on stage is real.
“This show is really like, um…”. Well, for a start it should not have been in the circus and cabaret section of the brochure. It was neither of those things and yet it had many of the necessary ingredients: poetry, dance, circus skills, live music, even water sports, but it could never have been described as circus and cabaret and I was so relieved that it wasn’t. Instead, it was a combination of physical interpretations of the performers’ thoughts on conflict and the only drum roll was entirely appropriate coming as it did as the axe fell on the head of…. But more of the tool balancing later.
This is the exactly the sort of show that the fringe should be about: open, engaging and thought-provoking. From the beginning, we were transported effortlessly and unnoticeably to a place where we all shared the same experience, whether it was a taxi in Tel Aviv or a bus crash in Glasgow, these performers showed us that no matter where we are the same conflicts occur and cause us similar reactions. We entered to performers sitting on stage in front of us, relaxed and smiling, more relaxed than us, and more relaxed than the front of house staff, the atmosphere was quiet and inviting with a distant chatter in the background. I have only one criticism and it is for the venue, at times, it was hard to tell the difference between the intended soundtrack and the actual background noise. The noise levels that bled in from outside and the internal noise of the fan that kept the tent inflated were considerable and distracting. Fortunately, it didn’t matter too much and actually fit the style, although at times I found myself straining to hear the actors. It only mattered when preventing silence for the beautifully crafted live soundtrack to be fully appreciated; Gil Lavis’ musical constructions were a joy and the sound, a wonderful co-mingling of disturbed urban beats and enchantingly simple notes of music, dripped into space. This, combined with the haunting accompaniment of the ukulele to the choreographed movement piece, still lingers.
The show is comprised of 23 routines, signified by the headings displayed on the set. The routines took different forms, switching from dance to acrobalance to poetry even to stand-up. None of them seemed to be outside of the seamless conversation between the cast and the audience, all the numbers were based on the casts’ real experience of various kinds of conflict. The fact that they were set in, for instance, Tel Aviv rather than Liverpool, did nothing to alter the universality of the experiences ranging from trivial to intense, from macho to the worries of a woman constantly calling the police because it was the right thing to do, whether Israeli or German. Some routines stand out more than others, some statements, like the music, linger: “You look whiter, cleaner” was a particular favourite. The body percussion accompanying the poem was perfectly pitched, the blind juggling routine a display of some skill. With gentle choreography throughout and an unhurried pace, the performers moved us seamlessly, chatting us through the routines with an efficient use of both the stage and the props. Despite the deliberately makeshift and ramshackle look to the stage setting they achieved some poignant images, particularly during the burial scene, which I found beautiful, suffocating and yet comic at the same time, something that would happen to Homer Simpson.
The end just flew by and just like that it was all gone and we too were gone, out into the background noise, fighting for seats, eager to discuss what we had seen, yet unwilling to pay £1.80 for a small glass of coke. My companion texted me today to say she was still thinking about it; that’s the mark of an effective piece of theatre. This is not a Friday or Saturday night good time cabaret show and it’s all the better for that. By all means go on a Friday or Saturday but expect to have some conversations afterwards, rather than just forgetting, this show will stay with you. This is international theatre at its best, offering very different perspectives on common experiences and including us in every aspect. Even though for the most part we were a non-Hebrew speaking audience, the translation needed no translation! Great to see it in Brighton, I’m glad they made it over here.
To quote the company: “This show is really…..um…” highly recommended by this reviewer.