I admit to having approached this evening with more than a little apprehension. I have seen productions by Phoenix Dance Theatre in the past, but they were either short works or composites. Inside Giovanni’s Room, however, was a full length adaptation of the 1956 cult classic novel, Giovanni’s Room, by James Baldwin, so, the question was, would I last the pace?
The name James Baldwin didn’t ring a bell, but when I saw his photograph in the programme, I realised I had seen him quite a few times on television in my youth and beyond, campaigning for civil rights. He was a gay black man, not the combination to ensure a peaceful existence during adolescence, even in the more liberal city of New York, so he moved to Paris in 1948 where he began his writing career. He frequently returned to the USA to lecture, teach and advocate on race relations and LGBTQ+ rights, although, having died in 1987, he wouldn’t have known it as that, the term LGBT wasn’t first used until 1988. Although a prominent Black Rights campaigner, his novel specifically contains only white characters. He said that this was so the story could be told to hone in one issue, rather than be confused by tackling two at a time. As you will see from the photographs, this does not apply to the dance.
What I love about reviewing, apart from the lovely people I meet, and the odd glass of red, is the rabbit holes down which I am taken when researching a work. Isn’t that what great art is all about, mind broadening? In this case I looked at what would have prompted Baldwin’s decision to go to Paris, and found that, unlike most countries in the world at the time, homosexuality was legal, and had been since the French Revolution in 1791! Ironically, whilst others decriminalised the practice over the years, the UK having done so in 1967, in 1960 France introduced a law to tackle prostitution, which was amended to also include homosexuality and was used widely until its repeal in 1980. Out of the frying pan into the fire it seems.
David – Teige Bisnought and Hella – Dorna Ashory
The book deals with a young American, called David, living in Paris. He is engaged to Hella, who leaves for travels in Spain. Whilst alone and strapped for cash, he he calls an older, gay male friend, Jacques, in order to meet for supper and ask him for money. After the meal they go to Guillaume’s gay bar, where they are introduced to the new bartender, Giovanni. Jacques makes a pass at him but is rejected so goes to talk with the owner, leaving David on his own propping up the bar and he and Giovanni hit it off. After a night of drinking and dancing, Giovanni takes David back to his small room where they indulge in a night of passion. This is not as much of a light bulb moment for David as it appears, he had a fling with a young man, Joey, when still a boy. End of Part One.
After the interval, we find the pair living together quite happily, until David gets the inevitable letter saying that Hella is coming back to Paris. He realises that he will have to end his relationship with Giovanni, but in order to find out if he is still capable of sex with a woman, he meets an acquaintance, Sue, and between them they establish that he is. David tells Giovanni that it is over, which, understandably, causes him great grief which is compounded by him losing his job at the bar.
Giovanni, Dylan Springer, reclining, and David Teige Bisnought. Not sure about the socks mate.
As David and Hella pick up where they left off, he learns that Giovanni has become destitute and taken to selling his body to survive. One evening he goes to see Guillaume and kills him with the cord of his dressing gown. He is arrested and sentenced to death.
The night before Giovanni’s execution, David goes out to find solace, which he does in the arms of a sailor. Hella, who has followed him, sees the two men in an embrace and, after confronting David, she packs her suitcase and goes, leaving David alone, tortured by the thought of the anguish Giovanni must be feeling on the night before his death.
Not the happiest of tales, but one which had immense power and emotion.
It seems axiomatic to say that the production was centred around the dance, that is why we were there, but I was amazed by the way in which the story was so eloquently conveyed without the use of words. The trepidation with which I approached the evening, totally disappeared after a few minutes and I was hooked. Although straight, and possibly because of my age, I could totally identify with David, as the battle between being conventionally heterosexual and the unbelievable pressure of having to repress the fact that you are illegally gay is unimaginable to anyone under the age of 55 today. I went to an all boys grammar school in Leeds, whose catchment area was the inner city before it was demolished and gentrified, so I am sure that, although there were kids who had immense struggles with their feelings, they were condemned to live a lie, thinking that this was the only way, and looking on sex as something to be endured rather than enjoyed. Yes, I do realise that to a great number of people sex is not a pleasure even if you have your choice of partner, but that is another matter.
Giovanni, tending the bar – and David!
The athleticism, suppleness and grace with which dancers perform their art never ceases to amaze me, in fact I think I write that line after every show I see of this genre, and tonight was no exception. During the scenes which featured the whole ensemble, I tried to avert my gaze from the lead dancers and concentrate on one of the supports for a few seconds before switching to another, and every single one impressed. The leads, Teige Bisnought as David and Dylan Springer, Giovanni, were superb, covering all the emotions from tender homoerotic scenes in the room, to the murder of Guillaume (Tony Polo) seamlessly. Dorna Ashory, as Hella, provided one of the most amazing pieces of theatre I have ever seen, dancing a solo with no musical accompaniment whatsoever. It must have lasted about five minutes and the auditorium was in total silence the whole way through.
The heteroerotic scene between David and Sue, Hannah McGlashon, catered to the more basic needs of we straight theatregoers, being performed with the mixture of lust and symbolic resistance, which one-night stands seem(ed) to comprise – ah, the memories.
The other members of the superb ensemble were: Aaron Chaplin who danced both Jacques and the sailor; Phikolwethu Luke, David’s Father; Yasmina Patel, Aunt Ellen; Tishainy Constancia; Graciela Marquee-Smith; Maddie Irwin and Jess Yeo.
Obviously, apart from the aforementioned silent solo, music is a main element in a work like this and it had been specially composed by Marc Strobel. As such it could be moulded to the story, rather than the dance be adapted to the composition. There was a tribal feel to some of the scenes, with bongos incessantly beating as the carnal needs were satisfied. At the end of the first half, the club music took over with electronica, slowly fading except for a bass drum imitating the sound of a strong heartbeat as David and Giovanni entered his room to end the night in the inevitable manner.
The ensemble: David’s father – Phikolwethu Luke, Giovanni – Dylan Springer, Aunt Ellen – Yasmina Patel, David – Teige Bisnought and Hella – Dorna Ashory.
If the dancing needed music, it also needed space, and the set, designed by Jacob Hughes, was a masterpiece in its apparent simplicity, although I doubt it was that easy to plan and construct. It comprised one huge box and one small one in the middle of it, only big enough to accommodate a chaise longue, the eponymous Giovanni’s Room. The room was positioned just far enough forward to enable the performers to appear and disappear from round the back, thus facilitating entrances and exits without detection. The base of the outer box was large enough for all of the ensemble to appear together and, as the smaller one was in the middle, action could be taking place on one side in the spotlight, whilst the other was being adjusted for the next scene.
Giovanni captured in the dramatic lighting.
Obviously, from what I have said about the set, the lighting played a big part in the overall effect, and this was designed by Luke Haywood. Spotlights picked out the solo performances but, once again returning to the silent dance, it was the absence of light on occasions which enhanced the experience. During the period when David and Giovanni were co-habiting, They would strike tableau poses in the room to illustrate the various domestic situations, reading, lazing, seemingly watching tv etc, and each change was enabled by the stage being plunged into total darkness for only a couple of seconds. There were also strategically placed light sources to cast shadows of the dancers onto the side walls, when needed.
The costumes, which echoed the period, were designed by Melissa Parry. I know that they were time specific as my mum had a dress just like the one Hella wore for best, although I don’t think it was tailored in order to be removed as quickly, probably why I am an only child!
The ensemble clockwise, standing: Teige Bisnought, Tishainy Constancia, Aaron Chaplin, Tony Polo, Graciela Mariqueo-Smith, Dylan Springer and Maddie Irwin. Seated Hannah McGlashon, Phikolwethu Luke and Dorna Ashory.
I suppose I should really conclude by mentioning the choreographer, alright then, it was Marcus Jarrell Willis, who was also Artistic Director, Some of the moves he designed were incredible as well as being integral to the story. He made it so easy for a numpty like me to enjoy the work whilst I am sure the aficionados will have appreciated the technicalities as well. His assistant was Matthew Topliss and the Dramaturge, Tonderai Munyevu.
Executive Director was Chris Osbourne and Chief Executive Officer, Jennifer Coleman-Peers.
Whether you are a dance regular or just want to experience it for the first time, I would highly recommend a visit to this show. It really is breathtaking. If you don’t believe me just take a look at this trailer and marvel. It is even more impressive live! https://www.youtube.com/watch?v=ecM4B9R4ANw
Inside Giovanni’s Room is at Leeds Playhouse until Saturday, 8th March. For more information and booking please go to https://www.leedsplayhouse.org.uk/event/inside-giovannis-room/
It then begins a tour to Dundee Rep on Wednesday, 12th March https://dundeerep.co.uk Northern Stage, Newcastle on Wednesday and Thursday, 19th and 20th March https://northernstage.co.uk Birmingham Rep, Wednesday, 28th May https://www.birmingham-rep.co.uk Liverpool Playhouse, Thursday, 5th June https://everymanplayhouse.com ending with a run at Sadler’s Wells East from Wednesday to Saturday, 11th to 14th June https://www.sadlerswells.com
For other Leeds Playhouse presentations go to https://www.leedsplayhouse.org.uk/whats-on/
For everything you ever wanted to know about Phoenix Dance Theatre try https://www.phoenixdancetheatre.co.uk/
Tyke It To The Limit 