Chanel McKenzie’s script is impressive, bolstered by Ann-Isabel Olujohungbe’s performance
Chanel McKenzie’s The Institution of Failed Artists follows struggling rapper, Rubes, who enters a militant institution designed to give failing artists one final chance to succeed.
The premise of Artists is very interesting, and the team’s execution of it does not disappoint.
McKenzie, a Soho Writers lab alumni, interweaves rap and scripted dialogue to give us a view of Rubes’ inner world and potential as an onstage performer. Both aspects of this are delivered with grandeur and finesse by Ann-Isabel Olujohungbe, who brings every corner of Rubes’ world to life. Whilst there may have been some nerves at the start, once Olujohungbe established the space as one she domineered, her performance immersed us fully in the world of the play. There was an investment in character that wasn’t afraid to be both playful and painful. Olujohungbe is clearly a seasoned actor with the ability to hold a room.
McKenzie’s script is impressively expansive. The characterisation of Rubes is incredibly detailed and humane, with our experience of her story feeling very intimate. Alongside this, the supporting characters are also given a fullness very rarely seen in such a short script. Notably, Rubes’ love interest and the guard she befriends are both very fleshed out characters. Even one liners from some of the fellow artists towards the end give us a fully realised idea of their personal stakes which have brought them to join the institution. The world building as a whole is strong, and it’s a testament to McKenzie’s skill that the play is able to do this all within an hour long slot. With a little more time, perhaps we could spend longer with the beginning and the end of the play, to further fully establish the institution, and to allow the resolution to build some more.
Props must also be given to the lighting, designed by Aran Baskar. This was by far a highlight of the show’s overall design. Similarly to McKenzie’s script, the lighting was diverse in tone, switching from concert style flashlights, to eerie washes which assisted the darker undertones of the play.
With a specialised set designer, the show could be visually immaculate. Sometimes the set felt a little sparse and unfocused, and with some more specific choices, we would get an ever better sense of the space Rubes is confined to. Tightening the space, making it more restrictive, would compliment the limiting impression we get of the institution in the story.
McKenzie’s The Institution of Failed Artists is a brilliant study of the artist’s struggle, that avoids being indulgent or pitying. There’s a real understanding and exploration of the sacrifices that have to be made not even to succeed, but simply to have a chance of doing so. Risk plays an enormous factor in the life of an artist. With a play so dynamic, invested, and thoroughly entertaining, that risk has certainly paid off.