A compelling theatrical experience infused with authenticity, shedding light on the nuanced challenges faced by women within the criminal justice system.
The Trials and Passions of Unfamous Women is a play exploring the real stories of women who faced the criminal justice system in the UK and was commissioned by the London International Festival of Theatre (LIFT) and Clean Break. Clean Break is a theatre company dedicated to working with women who have encountered or are at risk of encountering the criminal justice system, and the production has taken to the stage at Brixton House. Director, Janaina Leite, with co-director, Lara Duarte, devised a production that centres around the autobiographical stories of Clean Break cast members, stories of abuse, theft, mental illness, self-harm but also of being clean from drug use for 15 years. These are their shared experiences of justice that often feels like injustice in the courts where they were tried for their transgressions.
The first thing to notice is the immersive space created for The Trials and Passions of Unfamous Women. It felt like stepping into another world. The shadowy light of the black box, draped in curtains and the shrines, set a dark yet seductive tone. As instructed by the card handed to us at the entrance, we were encouraged to explore the space and encounter the four goddess-like women. The promenade preceding the prologue was meant to transport the audience into the play’s inner core, connecting them with the mythic and historical women’s stories and passions while setting a ritualistic and sacred tone for what was about to be a theatrical and judicial examination. The music, a continuous humming of drums, inducing a trance-like state, was complemented by written notes reminding us to “Keep worshipping”.
The play began with a court jester who delivered a prologue paying tribute to the women of the past whose struggles laid the foundation for the present. There was humour, but there was also a subtle undertone of macabre as we all had the choice to go listen to a goddess. Where I was standing, a Medusa like goddess presented a severed head.
The second part of the performance shifted dramatically into a deconstruction of a courtroom, blending metatheatre with didacticism. This part invited the audience to participate, breaking the fourth wall entirely. By chance, I was chosen by one of the actors to play the part of a woman on the stand. This role gave me a profoundly different perspective on the theatrical experience. I felt exposed, bearing the weight of the judicial system’s scrutiny, the intense gaze of the jury, and the artificial portrayal of my solicitor. I had to fight with another woman in a game of tug of war to be declared the winner in the end. The prize, a child. This interaction was both unsettling and enlightening, highlighting the performative aspects of justice and the subjective nature of judgement.
In the third part, the atmosphere transitioned into a meditative discussion among the women. The stage was enveloped in a haze, creating a dreamlike environment that felt both intimate and distant. This segment was less structured, more reflective, as the characters pondered justice, passion, and their intertwined fates. It was a thought-provoking conclusion, leaving us with more questions than answers, and a lingering sense of unease.
The Trials and Passions of Unfamous Women attempts to tackle complex themes. The task seemed at time more than can be conveyed in one performance. There were moments I felt the flow of the narrative is fragmented and the immersive intentions not fully integrated. The switch between autobiographies and scripted stories is not always clear, leaving the audience confused at times.
Despite flaws, this remains a unique and thought-provoking exploration of the passions and trials of women deemed transgressive throughout history. The Clean Break cast were the real heroes of the evening, brings an extraordinary blend of authenticity and emotional intensity to the stage.