• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Tickets

The Poetry We Make at VAULT Festival

February 12, 2018 by Maggie Kelly Leave a Comment

Review of: The Poetry We Make

Reviewed by: Maggie Kelly
Rating:
3
On February 12, 2018
Last modified:February 12, 2018

Summary:

Nuanced discussion of transition told by the wrong character

More Details

It’s wonderful to see a love story that embraces the whole gender scale instead of fitting with the usual binaries that are flung at us throughout society. Elliott meets Robin – there’s an immediate attraction, they get together and spend four years in a relationship. They break up – we’re not told how, or why, it doesn’t really matter. After the breakup, Robin comes out as trans and starts their transition from a man to a woman.

The chemistry between Elena Voce (Elliott) and Elijah W Harris (Robin) is gorgeous – the couple are wonderfully cute and utterly at ease. Voce and Harris absolutely nail the comfort and flirtation that accompanies a long relationship, creating a shorthand between them that feels simultaneously entirely unique and wholly relatable. We believe in Elliott and Robin so intensely that we feel both their anguish when the pairing doesn’t work out.

However, setting Elliott as the audience’s main eyes and ears onstage seems an odd choice considering the themes of the piece, and Robin’s pivotal part in the progression of the narrative. It is so rare to see a trans character onstage, and sadly so unique to hear their voice, that hearing about Robin’s transition from their perspective would have added more than simply being privy to Elliott’s confusion. One can understand why the team chose Elliott as the audience’s eyes – potentially something to do with the majority of the audience probably relating more with Elliott than Robin – but seeing a character transitioning centre stage, or even giving their voice as much weight as was given to Elliott’s, would have balanced the piece out.

And then Dolly Parton herself appears, all bright pink and plastic, glittering jewels. Dolly’s a weird one – she starts off as a way for Elliott to express herself, a function rather than a character, but throughout the piece she gains more and more personality until we feel almost more sympathy towards her than either of the two exes. It’s a fun, bold, brash way to play with the performance stereotype – and I’ll never say no to a good ol’ Dolly singalong. It does, however, mean that there isn’t much of an effort to weave the discussion of a transgender character into the actual scenes themselves; there’s a slight hint of mid-sections declaiming ‘now we’re going to have a chat about transgender issues’.

However, this is nit-picking in an otherwise solid production raising awareness about the difficulties accompanying transition. It’s a nuanced look at how memories and being in love can affect our reception of gendered performance, and is a welcome addition to the VAULT Festival lineup

Author: Maggie Kelly

Filed Under: Featured, Review Tagged With: The Poetry We Make, Vault Festival

Join the discussion Cancel reply

INTERVIEW / Silent Faces on Godot is a Woman’s first UK Tour

Silent Faces return to the stage with their signature style of playful and political physical theatre, interrogating permission, patriarchy, and [Read More]

INTERVIEW / Max Rinehart on The Retreat

We spoke to actor Max Rinehart about his experience working on the European premiere of Jason Sherman’s The Retreat at [Read More]

NEWS / Frozen Light celebrate 10 years with Sensory Symposium

The UK’s premiere company for adults with profound and multiple learning disabilities invites industry professionals of all genres and sensory [Read More]

INTERVIEW / Jenny Foulds on Life Learnings of a Nonsensical Human

Performer Jenny Foulds tells us about her forthcoming one woman show Life Learnings of a Nonsensical Human, coming to the [Read More]

INTERVIEW / Monique Touko on We Need New Names

We Need New Names is a defiant and exuberant coming-of-age story follows a young girl from the playgrounds of Zimbabwe [Read More]

Top Posts & Pages

  • Max Rinehart on The Retreat
  • Monique Touko on We Need New Names
  • Beached- Soho Theatre
  • Complicité's A Minute Too Late at the National Theatre
  • Katy Owen: How to Apply to Drama Schools*
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • The Adrian Pagan Award is Back - Could You Win It?
  • Does Small to Mid Scale Theatre Touring Actually Work?
  • The Cherry Orchard- a translation for modern times and a modern audience? The Young Vic
  • The Bacchae - National Student Drama Festival 2015
  • Maggie Kelly
    Author

  • February 12th, 2018
  • comment iconNo Comments
  • Facebook20TweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2023 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!