Review: Lysistrata, The Weston Studio, Bristol Old Vic – ‘An ever moving collage of movement, dance and physicality’

“Men hurt women, that’s what they do,” says Liza, aka Lysistrata, as she struggles to reconcile why boys who are otherwise fun, caring and loving individuals change when they get a sense of power.

This retelling of Aristophanes’ story of women trying to end the Peloponnesian War has been transferred to the streets of Bristol and explores the tensions and confusion that confront young people as they try to find their way in an increasingly complex world.

The entire production has been devised by the Young SixSix company, an ensemble made up of young people aged between 15-20 from central and north Bristol, working with support from Bristol poet Vanessa Kisuule as writer in the room.

The company benefit from support from the Andrew Lloyd Webber Foundation and offer a pathway into theatre for young people who may not have considered it before.

Programme notes from one cast member, Daniel Forbes (Raheem) are testament to the transformational power of theatre. He recounts that before he was involved, he would definitely not have been interested in an old Greek play, but that through exploration of the creative process, it has given him a new voice.

From the outset, the boys in the story are full of bravado and living for the moment while lapsing into an all too easy culture of disrespecting the women around them.

Lysistrata, Young SixSix at Bristol Old Vic’s Weston Studio – photo: Chelsey Cliff

The girls, led by the impressive Liana Cotrill as Liza, find themselves at first playing the more subservient role, but when Liza’s friend Celeste (Akosua Edwards) is spiked by a needle in a night club and the boys react by filming her drugged antics, she decides that enough is enough.

Liza’s rage, together with a growing sense of self-awareness and an energy emanating from a burning and righteous anger, is turned forcibly upon the boys.

The story proceeds to show how the girls’ withdrawal of contact, friendship and support starts to impact the whole group as they each confront what it means to gain maturity and an understanding of the importance of affection.

Possibly because of the number of hands behind the writing process, there are moments where the plot becomes overly complicated, but the power of the piece rests with the ensemble’s conviction in the story.

Photo: Chelsey Cliff

The set is comprised of a very domestic living room with an Ikea-like sofa and shelves containing the stuff of modern life. Behind the movable partition a lone drummer accompanies the atmospheric music – composed by Simon Burke – and this serves to put the conflict in a family context. These people do actually care for each other.

Directors Julia Head and Xahnaa Adlam create an ever moving collage of movement, dance, and physicality with lyrics occasionally rapped out at pace.

It is an engrossing piece, far removed from the stereotypes usually accompanied with dramas around young people, especially young black people. It also has beautifully modulated moments of genuine tenderness.

When Jaz, played with understated realism by Grace Dobson, confronts her wayward boyfriend Izaak (Max Westcott) we get an authentic sense of the demands that are placed upon the young and dispossessed.

Many of the current company are moving onto Drama School after this production, which is testament enough of the power of theatre.

Photo: Chelsey Cliff

Lysistrata is at The Weston Studio, Bristol Old Vic from September 15-17 at 7pm, with an additional 2pm matinee show on Saturday. Tickets are available at www.bristololdvic.org.uk.

Main photo: Chelsey Cliff

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