THE RISK TAKERS ARE THE FUNDAMENTAL DRIVING FORCE OF MODERN THEATRE
by Jo Griffiths
First published May 2019
Avant Garde theatre at its most simplistic is anti-traditional in form and at the leading edge of artistic experiment. Many famous practitioners, from Grotowski to Artaud, were, in their time, at the forefront of change. One problem with avant-gardism is that it is continually out-dated. Most mainstream venues avoid taking financial risks, and commercial work is often a safer option. This is where the London Pub Theatre scene can constantly try to take the next step forward. This makes these some of the most exciting venues in London with programming that challenges and inspires.

Live performance should be at the forefront of experimental work; if you cannot play with form, structure and dialogue in this context, then the possibilities are limited. To examine the human condition is to look at it in the most radical, profound and extraordinary way possible. If experimenting, the rules are thrown down and the playing can begin. As children we are allowed and expected to play; as adults, it is seen as a ludicrous and ridiculous idea. This is exactly what hinders the creativity of the human.  

The risk takers might be tackling big political issues, or pushing the genre of physical theatre, or questioning our existence. Whatever their reasons, they must be celebrated and applauded for pushing boundaries and driving theatre forwards. 

While I was researching this feature a couple of Artistic Directors were talking about revivals. This was not something one thinks of as particularly risky and is hardly cutting edge. However, going deeper into the reasons why these plays are being programmed, there were strong feelings that particular themes of the play are relevant now. Up to date revivals that speak to today’s audience should now be included. Are they taking risks? Of course, they are, many are before their time and might still be considered radical today. Without them the world would be less exciting and interesting. 

The Old Red Lion Theatre is a firm favourite on the Fringe circuit. Originally opening its doors in 1979, now one of London's oldest and most loved venues. They are particularly interested in challenging, new work and ambitious revivals of significant plays from the past, which reflect important new perspectives on our current society. This year, to celebrate their 40th anniversary, they are staging a revival of a play that firstly found success back in 1982. It went on to transfer to the West End in 1983. 

Crystal Clear devised by Phil Young is a raw and moving play about love and loss in a world made for the sighted. Returning to the ORL stage 37 years later, all performances are now fully accessible to visually impaired audience members. To be able to cater for the visually impaired is a fantastic step forward and meeting the needs of a modern audience. Devised theatre was and still is a fundamental way to create and the ORL champion this type of process. I think it’s sometimes less constraining than a script, allowing ‘playing’ to take full effect. 

Katy Danbury is the Artistic Director of the ORL, and she spoke with passion about this fantastic venue:
“We think it is important to stage cutting edge work and allow emerging artists to experiment at Fringe level. We encourage all of our artists to question and push the boundaries of what they think might be possible in our small space. This not only allows our artists to develop their craft, but it forces our audiences to expand their expectations of what theatre can be.”

From a historical perspective it is important to look at cutting edge practitioners. Samuel Beckett and Pina Bausch are good examples. One a playwright and one a choreographer, finding the obvious connection was not straightforward. Nevertheless, they both took huge risks in terms of audience expectation. No one had seen anything like Bausch’s Bluebeard when it was staged in 1977. Dancers were crawling and moving across the floor banging pillows against the walls while wading through dead leaves. The expectation of the audience was challenged and love it or hate it, it got people talking and it led to more experimental work. Cutting edge? Yes! When Beckett wrote Waiting for Godot, first performed in 1955 it was reviewed badly. People didn’t understand what he was trying to do but, in its most simplistic form, it was trying to show life as futile and full of suffering. What followed was an extraordinary revolution of modern theatre with Harold Pinter and Beckett challenging form, dialogue and character intention. Without these very important risk takers theatre would have possibly not evolved into its current state today.  

Katzpace theatre opened in September 2017, underground in the katzenjammers, the German Bierkeller right next to the vibrant Borough Market. A fifty seated intimate space that oozes coolness and positive vibes. Under the guidance of artistic director Bebe Barry, Katzpace is endeavouring to program new writing and devising in the heart of London.  

When I spoke to Bebe she was excited about the potential of Katzpace and its programming:
“There's a passion and a determination that is congruous with creatives who are wanting to take risks and put themselves out there that really translates in a piece of work. If they're excited, then we're excited because excitement is infectious. If something is making you nervous, that's when you know you're making progress and there's nothing like a bit of risk taking to do that to you!”

Katzpace is programming a two-night run of two plays in August. Rigor Mortis & Ghosting are both set in Waterford, Ireland. In Rigor Mortis mourners arrive at a church only to find the deceased missing. Jimmy wakes up in his sitting room hung-over to Jesus, only to find a coffin in front of the couch and Ted knocking at the door. What is happening? More mystery surrounds Ghosting. She never sleeps well. She never remembers her dreams. Her first boyfriend ghosted her six years ago so what the f*ck is he doing sitting on the end of her bed in the middle of the night? Now she’s going back to the last place on Earth she wants to be. Both these pieces embrace the idea of mystery and intrigue allowing the theatre company, Jazz Dancing Criminals a chance to play with their ideas in a short run and create new work. 

Another pub theatre championing the risk taker is The White Bear in Kennington. Founded in 1988 by founder and Artistic Director Michael Kingsbury. He communicates an extraordinary sense of someone who understands the Fringe from many different perspectives. Kingsbury set the theatre up to give people opportunities and he continues to do that today. The Fringe is a stepping-stone to bigger venues and a learning tool. He runs some shows for a week with the purpose that it is allowed to be imperfect and you are allowed to fail in order to progress. Risk taking is all about failing on occasion and moving forward from a better understanding of what worked and what did not. 

Garry by Sophie Treadwell is playing in June, sixty-five years after she wrote it. Treadwell wrote a huge number of plays and ‘Machinal’ is on the list of the greatest plays ever written. However, only one of her scripts has been published and the majority of them remain unperformed.  

The play is set in 1954 New York. A sexual assault is attempted that has devastating consequences for the newlyweds. Why is this risk taking? The role of women in the 1950’s is explored and Treadwell unashamedly tackles themes of prostitution, homosexuality and sadomasochistic sex. It uses shocking dialogue with dominant female characters, far ahead of her time, Treadwell’s work seems currently very appropriate.  

Kingsbury says:
“The play feels incredibly urgent and resonates for us today, looking as it does at themes of sexual power play and gender politics.”

Featuring pub theatres that take risks and perform unpredictable work would not be complete without a mention of Theatre503; new writing is at the heart of Theatre503. They have an array of opportunities with their playwriting awards, Right to Write and 503five. Championing the early career playwright, the support here is remarkable.

J’Ouvert is a timely reflection on the black British experience and sexual politics of carnival. J’Ouvert is a piercing, hilarious and fearless story of two best friends, battling to preserve tradition in a society where women’s bodies are frequently under threat. Carnivalesque is in itself a sub genre that would fit securely under the Avant Garde umbrella. 

Writer Yasmin Joseph is one of Theatre503’s resident playwrights, from the 503five group. She had an idea about a dark skinned woman being in a comfortable place such as carnival but also being perceived sexually by men. Yasmin’s challenge is to find ways to show the non carnival goer an accurate taster of the music and flamboyancy while showing the seasoned carnival goer something that resembles a real carnival. The risks are huge, but this is what Theatre 503 does best, investing in new writers and seeing a rehearsal process reach performance.  

Artistic Director of Theatre503, Lisa Spirling says that when she reads plays, she wants to fall in love with the quality of the idea. The unknown is exciting and she looks for something that can only be performed in a theatre. Then, on another level of risk, she questions whether the writer will be able to deliver, and whether the full potential of the writer can be realised through the play.  

Spirling says: 
“Live performance is the absolute risk. Riskier than film and television in its immediacy … It is not just the work being seen, it is the theatre taking a risk on the new writer or director.”  

Avant Garde theatre is in its very essence a process that keeps changing. The radical and unconventional drives new ideas and approaches; therefore live performance is one of the most exhilarating pleasures. According to Samuel Beckett ‘Life is an illusion’, existence is only defined by relationships with others, therefore theatre can and should be an experiment that embraces the human being at the core of what it does. The London Fringe scene does exactly that in the unusual, vibrant, eclectic choice of venues and programming available.  

Jo Griffiths has lectured in theatre studies for over twenty years. She is a keen playwright making the top 20 at Bristol Old Vic (2016), semi-finals with Little Fish Theatre company (2017) and longlisted with Flux theatre & Pint sized plays (2018).  



"Live performance should be at the forefront of experimental work; if you cannot play with form, structure and dialogue in this context, then the possibilities are limited. As children we are allowed and expected to play; as adults, it is seen as a ludicrous and ridiculous idea. This is exactly what hinders the creativity of the human."
J’Ouvert by Yasmin Joseph at Theatre503,  29th May to 22nd June 2019

"Avant Garde theatre is in its very essence a process that keeps changing. The radical and unconventional drives new ideas and approaches; therefore live performance is one of the most exhilarating pleasures."

BLUEBEARD by choreographer Pina Bausch 1977
WAITING FOR GODOT by Samuel Beckett
List of upcoming productions featured in the article: 

J’OUVERT by Yasmin Joseph 29th May to 22nd June 2019
Theatre 503
Battersea Park Road
Battersea
London 
SW11 3BW

Box office 0207 978 7040


GARRY by Sophie Treadwell 4th to 22nd June 2019
White Bear Theatre
138 Kennington Park Road
London 
SE11 4DJ

Box office 0333 012 4963


CRYSTAL CLEAR by Phil Young 23rd July to 17th August 2019 
The Old Red Lion Theatre
418 St John Street
London
EC1V 4NJ

Tickets for this production are on sale from end of June
Box office 0333 012 4963


RIGOR MORTIS & GHOSTING by The Jazz Dancing Criminals 11th & 12th August 2019 
Katzpace Studio Theatre
At Katzenjammers bierkeller
24 Southwark Street
London 
SE1 1TY

Tickets for this production are on sale from July
Box Office












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