A compelling and creative performance in historical riverside Deptford.
The Gretchen Question begins with audience interaction. Don’t worry, we’re told, it’s the only time it happens in the show. Relaxed by Max Barton’s charming introduction, we settle in for an evening travelling across time. And from the moment we begin humming our heartbeats in near unison (for a recording for later use), a community forms. We’re in, and we stay in.
The play itself is an intertwining of three stories: that of Maisie, an influencer in the near future with a questionable corporate partner; Lulit, an artist who is trying to piece together a forgotten night; and the titular Gretchen who, in the eighteenth century, is caught up in a world-changing discovery. It’s a comment on the climate emergency and how we got here, on the cost of greed, and on the expectations of women. And it’s very well written.
It’s not easy to keep a modern audience engaged for an hour and a half but Melly Still’s writing and direction, aided by Barton’s impeccable composition, do the job—dancing from scene to scene, the show bounces along while still holding on to the moments that deserve pause. Plus, the music is sublime, and I was regularly surprised on remembering that most of it was being played live. Outdoor theatre can fall short when careful consideration is lacking in even one of its elements, but this collaboration is a testament to how successful this form can be when done right.
The creativity of the piece is exceptional. The burden of the reviewer (depending on how favourably they view the show) is having to withhold the detail of some of the most enjoyable parts of a production. So without giving too much away, expect live streams, sparks, and wondrous hand-made effects. The show’s whole design is incredibly satisfying as well as impressive—all credit to E.M Parry—and the fun and functional costumes allow the actors to quickly switch between many roles with ease and joy.
The cast has no weak links. Yohanna Ephrem’s Maisie steals her scenes with her #influencervibes and dramatic turns; Christopher Saul captivates with his self-assurance (and charming pastiche of a national treasure); and Al Nedjari’s personal moment of vulnerability, in the midst of the surrounding global catastrophe, is perfectly pitched.
There were some teething problems—mostly sound related. There always will be in shows this ambitious, outside, in September, in Britain, but the commitment of the cast meant that any minor issues were immediately forgiven.
You should go and see this show. It’s a good reminder of what great theatre can do: entertain, provoke, engage… . It’s a monument to the importance of arts’ funding, possible thanks to Lewisham being this year’s Borough of Culture. And it’s right on the banks of the Thames. With the blinking red lights of corporate London ahead of you, and the 16th century grounds of The Master Shipwright’s House behind, it’s a night of history and magic in Deptford. Don’t miss it.