Slave - A Question of Freedom

I was at Riverside Studios last night for the opening of Slave - A Question of Freedom: the play that won the first Pete Postlethwaite Award in Manchester earlier this year. It was an extraordinary night - and not just because of what was happening on stage....

The play re-tells the life story of Mende Nazar, who was born in Nuba, and was taken into slavery at the age of 12, during the Sudanese Civil War. This was 1994. She was trafficked to the UK, and finally escaped slavery in 2000. It took several more years before she was granted refugee status: apparently "slavery is not persecution" in the eyes of the Home Office.

The play is engaging enough, especially after Mende's arrival in London, although the captors are constantly portrayed as melodramatic villains (there's even some wild laughter about rape), and Mende's childhood is portrayed as a rural idyll, which seems odd given that she is now trying to raise funds for a school and supplies of clean water. The morality seemed too simple: we all know that slavery is appalling, so how on earth can it still be happening, right here, right now? The central question was left unanswered.

But none of this mattered, given that Mende herself was in the audience, and sitting quite near to me. I could hear her crying at the accounts of rape and brutality. At the end, she was brought onto the stage, to a standing ovation, and made an emotional speech of thanks to the company. And then she said: "If I can make a difference, so can all of you". Which is true. She had absolutely nothing, and now is a celebrated campaigner. So people who have something have the responsibility that goes with it.

Oh yes - the director's father collapsed just before the interval and had to be taken to hospital. Apparently he was OK - but it was another moment of emotion and spectacle...

Windmill Baby

The last of our opening nights. Windmill Baby is an exquisitely crafted, stunningly performed piece of Aboriginal Australian drama, by one of the key figures in the making of the Festival, David Milroy. It's a full two years since he and I sat in Perth, talking about the idea of bringing it to London - and last night there it was, moving its audience to gales of laughter and floods of tears. Fantastic.

The play is very much in the storytelling tradition of the Aboriginal people. One actor, Rohanna Angus, tells the story directly to the audience and plays all the characters. It's an amazing acting achievement - she gives each one a subtly different vocal and physical characterisation. It was hard to believe that she'd been to the doctor with a bad throat in the morning - she was performing such feats of vocal dexterity. There's one glorious moment when an audience member is brought on stage to listen to "the potato story". Last night, it was a particularly shy person, which made it very funny indeed. It's one of those brilliant pieces of theatrical writing that is hilarious whatever the unpredictable element does - like the way Shakespeare uses the dog in Two Gents.

Before the show, I did a conversation with Frank Davey about the role of the Elders in Aboriginal society. It's incredibly important that they brought Uncle Frank with them to the Festival - it gives them security, and it gives us authenticity and validation.

The show is at Riverside Studios till Sunday, and the number is 020 8237 1111.

Salvage

Salvage had its press night at Riverside Studios yesterday. A bit of a misnomer, since the press didn't actually come.... having decided that their (admittedly rather good) coverage of Strange Resting Places was enough for Origins. Still, there was a very good house, with some really exciting guests - not least Alanis Obomsawin, who had just arrived from Canada in the morning. We're really excited that she's going to be involved for the rest of the Festival.

Alanis loved Salvage. It's a very poetic, mystical play - which in itself is strange, given that it's set in a contemporary reservation, and deals with the aftermath of a car crash. Diane Glancy, the writer, gves a powerful sense of contemporary realities in Native life (and pulls no punches about the social problems), but at the same time she allows room for the spirituality of the culture, and the sense of living in a continuum with the past. The main vehicle for this is the character of the father, Wolfert, who is played with amazing sensitivity by the Lakota actor and storyteller Robert Greygrass. I talk to him over drinks afterwards, and he tells me that this character is very familiar to him. A lot of older men don't exactly live by the old ways, but they feel very close to them. The scenes where he talks to his dead wife in the cemetery are really powerful.

So - now I can't wait for Windmill Baby tonight! It previewed yesterday, and I finally got to see David Milroy and welcome him and the team to London. To think it's two years since he and I first talked about doing this - and now they are finally here!

The incredible Festival

We're now half way through the Origins Festival. I can't really believe it was only last Monday that we did the Opening Ceremony - it feels like months, so much has happened. Strange Resting Places was a sell-out hit at Soho Theatre, and Almighty Voice and His Wife got standing ovations at Riverside Studios.

This week, both the shows are at Riverside. Salvage has its Press Night tonight, while Windmill Baby is pre-viewing, before a Press Night tomorrow. I've known Windmill Baby for a long time, in the text and on video, and I've known the writer, David Milroy, since we met in Perth back in June 2007 (crawl back through this blog to find the first impressions!!). It's really exciting finally to have the play in London, knowing how it's been received all over Australia and India - what an incredible, powerful piece of work it is.

Salvage I first read last summer, while I was in Tahoe, and I loved it from the start. I'd known about the writer, Diane Glancy, for some time - but this was a new play, which Native Voices were just about to put into production. So the time was ripe to add in the idea of Origins. When we spoke, Diane was under the impression the production would be in a simple black box with three chairs.... it actually has fences, cars, snow... and an amazing sound design. How things change in the process. It's just as well I put it in the larger Riverside space.

Last night, at the British Library, Diane was incredibly eloquent and poetic in her discussion of her work and of what makes Native Theatre generally. It made me even more excited finally to see her play tonight.

There are still tickets available - book now on 020 8237 1111 or www.riversidestudios.co.uk !!