No Idea
Lisa Hammond and Rachael Spence in association with Improbable
Mayfest 2010
The conceit of this well toured show relies upon the exploration of perceptions of disability, drawing upon material generated through interviews with members of the public. In devising the performance Spence and Hammond asked their interviewees to suggest the kind of play the two might perform in, if they were to perform in a play. The resultant show relies upon the embellishment of these suggestions, held together with anecdotes, gripes and the personal perspectives of the performers on the subject matter.
Hammond performs the majority of the show in an electric wheelchair and is significantly shorter than Spence, a fact which is clearly signposted to the audience at the beginning of the show in which the performers highlight parts of each other’s bodies with a gilded frame. In the first section of the show it is implied that this visual difference has an effect upon the suggestions of possible directions that the performance could take. We are told that the the interviewees often suggested issue based dramas that involve Hammond as the lead female and we hear these interviews through the mouths of the performers themselves, who listen to the interviews on headphones and recount them to us verbatim. In the second set of interviews the public were asked to contribute to a continuing story scene by scene. When presented with a more narrative based tale that required a heroine, Hammond felt that she was written out of the performance and only given a supporting role.
The performers are confident in their delivery and appear warm, witty and light humoured if not a little too rehearsed. They paint a picture of a convincing and genuine friendship, which in turn endears me to them. Fundamental to the performance is a section in which Lisa talks about “The Pit of Despair” in which she describes her dislike for hearing those with disabilities complaining about the way in which their disability affects them. She worries that perhaps she should be talking about these difficulties and tells us that the way that she looks does affect her at all times in her day to day life. This highlights that sometimes even with the best intent, the deliberate but well meaning overlooking of disability can be patronising.
The show is well put together and very entertaining. The set is creatively manipulated to serve the action and artistic vignettes fill the spaces between interviews. A song and dance number provides an intentionally comedic relief from the recounted interviews and provides the high point of the performance, a slightly politically incorrect verse in which Hammond sings about paedophile attraction to her smaller frame. Much time is spent re-enacting the story of the second set of interviews to illustrate the way in which Hammond has been written out, this allows time for Spence to perform a humorous montage of a typical romance. The suggestion that Hammond is sidelined when it comes to choosing a heroine feels tenuously linked. Although we are told that this is a situation that she has encountered before, it is difficult to see this through the interviews presented, which weakens the performance somewhat.
The performance feels curiously pitched to its adult audience. Its simple theatrical structure and gentle equality politics risk the performance feeling like a theatre in education piece at times. Hammond and Spence can afford to be braver in their exploration of the subject matter, provoking what is a hugely interesting topic. Both are undoubtably witty and talented performers and their style and delivery is funny and engaging. Had a little more risk been taken with the subject matter the performance could be superb. As it stands it is a very entertaining production by two very likeable performers. A fun night out.
Michael David Jones
14th May 2010
Tags: improbably, mayfest, no idea, review
