An electric retelling of this true story of heart, fight, community and an iconic music venue.
Inspired by Simon Parkes’ 2014 memoir Live at Brixton Academy, writing and producing duo Kick It Anywherepresents Brixton Calling. A powerful, intimate retelling of the true story: a 23-year-old buys an old Brixton cinema for £1 and turns it into an iconic music venue, political platform and community space.
It is surreal to enter the Southwark Playhouse Borough bar and almost immediately find myself talking to Simon Parkes himself, telling me about the best rice and peas he has ever eaten. In the theatre, the woman seated next to me is, is Pippa, married to Simon. We are reliving this story with the people who made this history around us, just magical.
Max Runham inhabits the endearing, roguish Simon Parkes, captivating the audience from the moment he emerges. In Pippa’s words, meeting him is like meeting another Simon. Runham’s physicality and command of his body are captivating. Whether he is dancing to rave music, contorting himself through a major decision or squaring up to the latest adversity, we see him feel it. Runham’s ability to switch between the characters Parkes interacts with is seamless. Runham and Parkes share the same limb difference, and the microaggressions peppered throughout the play are an important education.
Tendai Sitima portrays Parkes’ friend and collaborator Jonny Lawes (and others). An incredible musician, Sitima provides the live soundtrack and original composition for the show. He switches between instruments with ease and manages to handle his dialogue with excellent comedic timing in between.
Runham and Sitima’s chemistry throughout is undeniable; even their vocals blend seamlessly. Together, they take on the essence of incredible artists who graced the Academy stage: Chuck Berry, The Clash, The Pogues and more. These are not impressions; instead, Runham and Sitima bring us the essence of what makes people worship these artists, which is better.
Nik Corrall’s set design transforms the modest Little with a chipboard stage half covered by posters, framed by twisted neon tubing and a wall hung with guitars, ready to be played. Derek Anderson’s lighting enhances each moment of the story told. The glow of a rave, the aftermath of riots, and the first time Simon sees Pippa; each moment is lit perfectly.
Max Pappenheim’s sound design harmonises with lighting and props to create the creak of the old cinema door or the sound of a punch; real, immediate and impeccably timed (stage management Ibraheem Hamirani). Unfortunately, the music and instruments are often too loud, drowning out vocals and dialogue.
Whilst the show explores challenging topics, the audience laughs openly and often at witty one-liners (Writer, Alex Urwin). Repeated phrases are used like mantras to remind Parkes where he has come from, what he has overcome – ” A Rock and Roll hall in Brixton? Good luck, Simon, you’ll need it”. The storytelling also does not shy away from the interplay of privilege and power. Parkes grew up privileged and often uses his Public School education to get himself out of tight spots. But he embraces people and therefore they embrace him; from miners, to yardies, to drag queens.
Director Bronagh Anderson makes effective use of the modest set and limited props. A flightcase is a bicycle, a mic stand, a dog lead. The thrust staging allows Simita and Runham to frequently enter the audience and pull us into the story. At times, impressive live musical interludes (a guitar lick or dulcet vocal) feel cut short, leaving the audience unsure whether to clap or stay quiet. This makes some transitions feel disjointed. The musical talents of both performers feel ultimately underutilised.
This story exists against the backdrop of 1980s Brixton. The writing and direction pay homage to the undeniable influence of community, especially the Black and Queer communities. Brixton Calling is music history being made. An undeniable triumph of heart, challenge and community.