A celebration of creative potential, executed with an astonishing eye for detail.
Internationally acclaimed theatre company 1927 situated audiences in their wacky, transformative world from the moment of entering the auditorium. Laurence Owen’s overture cast an eerie atmosphere over the room, heightened by projections of an imposing and ominous animated eye glaring down at us as we took our seats. Two ensemble members patrolled the audience with passive, possessed expressions, clad in bizarre whitewashed costumes and handing out pencils with chilling, silent obstinance. This ensured the seeds of co-artistic directors Suzanne Andrade and Paul Barritt’s creative message were cleverly planted even before the show officially began, while also making for a wonderfully intriguing experience in the moment.
Soon after, the stage erupted into a vibrant display of colour, dance and song as we are introduced to the enigmatic ‘Mr E’, played fantastically by Stefan Davis. In shocking contrast to the earlier hostile atmosphere, this scene conjured up an exciting detective mission with skillful physical theatre alongside engaging animation that filled the stage. The audience is instantly charmed by a multitude of wonderful characters, locations and whimsical plots, some depicted through projections and others brilliantly multi-rolled by the cast. Yet, the magic of all this is soon disturbed by a revelation that ‘Mr E’ is really a father in prison, and his adventures serve as a desperate explanation of his absence to his children, communicated to them through his letters. This created emotive dramatic irony which the performance handled with brilliance, ensuring we viewed the hopeful power of imaginative storytelling through the children’s eyes, while also knowing the harsh truth it hides from them.
The dissonance between imagination and reality was played on frequently, as the fantasy world of Mr E diminished and the cruel, institutionalised and brainwashing expectations of the government invaded. We watch children Kim and Davey navigate complex emotions in the face of adversity and systematic disadvantage, meanwhile also facing the difficulties of highschool and teenhood. Despite the urgency and seriousness of 1927’s political message, the outstanding range of skills between cast members Chardae Phillips, Jenny Wills, Lara Cowin and Stefan Davis ensured we were also treated to plenty of comedic moments. A unique element of this show I was constantly impressed by was the ability of the cast to interact with characters who were entirely animated and voiceovered. This inventive performance style must have required meticulous engineering to pull off so faultlessly, yet it seemed entirely spontaneous and believable. I couldn’t help but to become excited by the widening possibilities this new performance style has introduced to theatre, which only serves to reinforce ‘Please Right Back’s’ tribute to creative freedom.
The second act showcased an increased threat of corrupt power, creating soul-destroying, overfunded academies of ‘obedience’ that generate the heartless lawyers, teachers and judges of the future. It soon became clear that the worst criminal was certainly not Kim and Davey’s dad, but rather the system that attacks him and his family. Suddenly, the audience understands the message behind the pencils they’ve clutched for the last two hours: giving tools and resources is worthless if imagination and humanity are taken away.
1927’s ability to deliver several detailed ideas in a thoroughly developed yet accessible and coherent manner is highly commendable. I saw children, parents and grandparents engaged in animated discussions after the show, clearly taken by this one-of-a-kind theatre extravaganza. Don’t hesitate to catch it on the remainder of its UK tour!