1927: A Theatrical Revolution

By Laura Darrall

Words seem an inadequate tool to describe the importance and utter brilliance of 1927’s work, yet it is the task of the reviewer to attempt such a feat. Rather, I should be showing you via a cornucopia of mediums and writing in a seductive metre. I, however, do not possess such skills, so simple prose will have to suffice.

1927 have started a theatrical revolution; with a style like no other they push the boundaries of what we know, forcing us to look at ourselves and our society, and stretch our imaginations to breaking point. Their art is precise, their movement specific and their characters grotesque, in the very best sense of the word.

The brain child of co-artistic directors Suzanne Andrade and animator Paul Barritt, this theatre company combine acting, live music, animation and film to create a fusion of performance which takes the definition of multimedia past its elastic limit.

Based on Gustav Meyrink’s novel Der Golem, 1927’s adaptation tells the story of Robert - an unusual young man, played with androgynous flair by actress Shamira Turner - trying to make his way through the world and become a ‘modern man’. Robert is sold a Golem by an overly keen inventor, played by Will Close who leaps seamlessly from character to percussionist before you can say the word ‘Golem’.

Now what is a Golem you may be wondering, because at this stage I was wondering the exact same thing; a Golem is ultimately a slave, a man made of clay who will do its owner’s every bidding and command.

As the show unfolds we see how Golem and the capitalist company behind his creation begin to affect and control the lives of Robert and his various companions, always having to keep up with the latest trends and fit in with the company’s dictated vision of what society and the modern world should be, trapping them into a consumeristic and unoriginal lifestyle. As an audience member who has recently upgraded to the I-phone 5 from her trusty Nokia, posted a status on Facebook and retweeted a proverbial tweet, it sent a shiver down my conforming spine.

Perhaps the most heart breaking part of the story is Robert’s relationship with Joy, a 35 year old head of stationary with a distinct lack of self-esteem, played, amongst many other characters, by Rose Robinson, whose vocal specificity and physical intricacy makes her a Joy to watch in more than name.

Robert and Joy have a very innocent and pure attraction to one another, that is until Golem gets involved. Golem encourages Robert to shop for a more ‘modern’ girlfriend (or two) through a theatricalised version of Tinder, highlighting the disposable nature of relationships in our swipe left or right society.

This is an unfaltering ensemble, including 1927 veterans Esme Appleton and Lillian Henly, whose attention to detail and precision in performance is unmatched. The performers have to act alongside Paul Barritt’s starkly fascinating animations. One step or finger out of place would shatter the illusion of their mixed media world. Therefore, accuracy is paramount.

This is a show not to be missed and a company we must support. The theatre world needs more innovation like this, more challenge and more daring. Due to its success, the run has been extended until 31st January, so I urge and implore you to grab a ticket while you can. Go, go and see Golem and have your mind blown.

★★★★★

Golem runs at the Young Vic until January 31st.

Book tickets here.

@PostScriptJour

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