Chaos

It was a pleasure to spend the afternoon with Gold Company as they presented their version of Chaos by Laura Lomas. This is a piece originally commissioned for National Theatre Connexions; a play designed for performance by young people between twelve and nineteen which lasts approximately one hour and covers themes relevant to that age range. As a result, we see a series of seemingly unconnected scenes exploring issues which matter to young people: climate change, social interactions, isolation, anxiety and of course, relationships.

A girl feels betrayed by her friend. A boy is locked in a room. A boy brings another boy flowers. A girl worries about impending catastrophe. A woman jumps in front of a train. A butterfly has a broken wing. It could be chaos, but then physics and natural order holds it all together. These contradictions are explored through words but also through movement and dance, giving the performance a real texture and depth.

All the participants threw themselves into every aspect of the piece with superb commitment. There was strong discipline from the whole company and this was particularly evident in the moments of concerted movement, which had absolute synchronicity. The whole ensemble oozed confidence, just one or two voices were a little too soft to be heard fully, even in this intimate space.

Acting needs to be strong to engage an audience without the help of any focused lighting. But even under the glare of the strip lights, Gold Company drew us in with their impassioned delivery. They shared their fears of impending disaster for the planet, and then amused us with tales of broken friendships, gossip and teenage angst. I particularly enjoyed the performance of the anguished young man, staying locked in his bedroom, unable to come out and face the world. And it was interesting to see everyone’s reaction to the girl who had the courage to dance her own dance. There is a moral there for us all, I think. The final speech was beautifully delivered by an actress who laid bare her vulnerability before us all, a beautiful performance.

Clever directorial moments included the sweeping movement of chairs, the presentation of the precious butterfly and the scene on the bus, when the bystanders examined their own consciences because they watched as a boy was beaten up. Ensemble speaking was faultless and moved along with great pace. That takes practice and great memory.

Although there were no lighting effects, the sound plot totally enhanced the piece, bringing cohesion to a set of random scenes. I spoke to the sound technician, Ashton Howick, who told me that the ensemble all suggest pieces which become a playlist for the piece and are then slotted in between and during scenes as appropriate. There were some wonderful choices, some of which I recognised and some I had never heard before.

There was no programme for the show, so I am unable to mention individual names, but this was a truly ensemble production and the sense of co-ownership was obvious. It is wonderful to see young people with the courage of their own convictions performing with such strength and putting forward such energy and commitment.

Congratulations to Sarah Osborne and to her assistant Alfie Cowburn. And all credit to Gold Company who rehearsed this piece in the middle of school exams. I am sure it was a massive relief to come to rehearsals and leave the other stresses behind for an hour or two. Thank you for inviting me to see your show.

Jay Cundell Walker, representing Jo Mallards.

 

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