A compelling, thoughtful exploration of the inadequacies of our binary education system
‘Belly of the Beast’ presents the tender story of YoungMartha and NowMartha, two versions of one person traversing the challenges of a binary system they don’t fit into. With a script that sizzles with authenticity and humanity, this award-winning play urgently interrogates the ramifications of an increasingly corporatised education system, putting Black, queer voices at the centre. The play isn’t just a social commentary however; it showcases a deeply emotional journey of self acceptance, with an unapologetic, nuanced exploration of gender identity.
Saana Sze’s script is witty and poetic, insightful and subtle. The framing of the narrative provides the perfect setting to explore the themes of race, class, gender and identity. Showcasing Martha as both a student and a trainee teacher gives us valuable perspective from both sides of the education system. The play is well paced and served as an effectively condensed dramatisation of huge personal and political themes.
The production is very well constructed, with every element creating a cohesive and well crafted story. Max Pappenheim’s innovative binaural sound design grounds us in the two worlds, the past and present, and delineates between them perfectly. When combined with Arnim Friess’ atmospheric and purposeful lighting, and Delyth Evan’s creative and economic use of space in the set, we are plunged into a world far bigger than the theatre we find ourselves in.
Dadiow Lin’s direction remains dynamic and cohesive, utilising every corner of the stage and showcasing an expert attention to detail. The casting choices are to be commended, as the play reveals two characters who not only look similar, but whose similarities are reinforced with visual and verbal echoes across the two worlds, present both in the script and evident in the actors’ mannerisms.
The play’s ultimate strength, however, is its two leads, who maintain the vast energy required for a two-hander with professional ease. Sam Bampoe-Parry’s childlike characterisation as YoungMartha is endearing, and they astonish with a remarkable ability to believably embody different characters within a short space of time. A commendable professional debut! Shiloh Coke, who is no stranger to the industry, showcases their maturity and satisfyingly counters YoungMartha’s endearing nervous energy with NowMartha’s composed restraint, delivered with admirable emotional complexity.
The play’s only real shortcoming is that it misses the opportunity to showcase a deeper connection between the two selves. We are often set up with near-misses, where YoungMartha and NowMartha almost connect with each other whilst inhabiting their separate worlds. This encourages a yearning for them to acknowledge each other that isn’t quite realised. Though the play ends with quiet triumph, I found myself aching for more of a confrontation between the characters, which made it bittersweet.
‘Belly of the Beast’, though ultimately critical, offers a glimpse of hope for a more inclusive school system, and world. The play ended with enthusiastic and raucous applause, which was well deserved. Thought provoking and incredibly relevant, it is a true coming of age tale, told twice over.