Get Out More....................................Theatre Review

THESE FOUR STREETS (Birmingham Rep)

18-02-2009

Or, as it’s known in the trade, “Lozells Riots – The Drama”. Paula Elenor enjoys a rare perspective on this tragic outburst.

I must thank the Rep’s Artistic Director for giving space to this interesting and thought-provoking play in The Door at the Repertory Theatre.

It is an unusual play in that it has been co-written by six writers who worked collaboratively on a project to develop the script inspired by the disturbances in Lozells in 2005 which resulted in a man’s death and massive damage, especially to businesses in the area.

The collaborative nature of the play has resulted in an episodic and rather loose dramatic structure. However, this is not meant as a criticism, because the structure allows for the expression of multiple voices and viewpoints providing a richness and complexity to the story or, should I say, the stories, around the disturbances in this ethnically and culturally diverse part of Birmingham.

The writers have achieved a coherent vision throughout the piece and this is established by the tight direction of Rep “old hand” Gwenda Hughes and some very compelling performances from a strong ensemble.

In particular, Lorna Laidlaw, Elexi Walker and Bharti Patel brilliantly explore the fears, strength, warmth, wit and occasional nuttiness of the women of the neighbourhood, in the highly charged build-up to the violence triggered by unsubstantiated rumours of a young girl gang raped by a group of young men.

Episodes focus on women and men trapped in business and homes as the violence flares around them and then progress to its aftermath – as the community tries to heal itself and move on.

You may feel from my review so far, that this show is dominated by a female perspective – well, you would be right. These Four Streets gives the events of four years ago an interesting slant.

It is not a narrative account of the events nor an analysis of what actually happened on the streets, nor an attempt to lay blame at any group’s door. It rather gives voice to women across the generations and communities who were impacted by the disturbances without being the main protagonists in them.

This approach does not denigrate or indeed invalidate the male perspective of the events.

What are these women, but grandmothers, mothers, sisters, girlfriends, daughters, all of whom are fearful for the safety of the men in their lives – with good cause too?

I know that this all sounds very “worthy”. It is, actually, but it is not dull. There’s a spikiness to it and it is really great to listen to – what a wealth of accents, inflexions and dialects– all having one thing in common – they are all Brummie!

Runs until 28 Feb. Book tickets at http://www.birmingham-rep.co.uk/

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