Uprooted review – the female fightback against the exploitation of Latin America
The previous show devised by the international theatre company Ephemeral Ensemble was subtle, horrifying and exhilarating: Rewind, about Latin America’s “disappeared”, landed a punch straight to the gut and was, for me, one of last year’s most memorable plays. Director Ramon Ayres employs a similarly striking blend of sound, visual effects and physicality in Uprooted, but the story does not quite cohere, despite some individually superlative scenes.The drama is once again set in Latin America, and this time depicts the advent of western imperialism and its ruinous effects on ecology, indigenous life and the climate. Deviser-performers Eyglo Belafonte, Josephine Tremelling, Louise Wilcox and Vanessa Guevara Flores give spirited performances, and there is an overarching eco-feminist message that connects gendered violence to the rape and exploitation of the land.Musical compositions by Alex Paton, who sits on a raised platform on one side of the stage, certainly carry great levels of drama. Marco Curcio’s magnificent sound design adds ambience, embroidering bird-sounds with the babble of streams, the sound of chainsaws and earth-rattling rumbles. Tremelling’s lighting design is wondrous too, using miniature models of houses lit up from the inside to depict displacement, and shadow-play from within a recycling bin, as well as imaginatively using of wind-machine and muslin to depict rippling water and, at one point, a thunderous landslide.Martian-like occupiers … Louise Wilcox and Ephemeral Ensemble. Photograph: Tristram Kenton/The GuardianBut despite this stagecraft and immersive atmosphere, there is little specificity to the story and minimal character building. Characters fight against the colonial destruction of their land and are angry, but they are almost as faceless as the occupiers, who wear martian-like metal facemasks.Uprooted touches on more issues that it can possibly do justice to within its hour-long duration, from female activism against colonialism and climate disaster to child labour, economic disruption to local communities, violence against women and more.It is frustrating that the script seems so generic in its messages and didactic in its delivery. Indigenous people fought and resisted western occupiers, we hear, and one defender of the land is still killed every other day. A quiz delivers more facts and figures. Strident statements are made about the centrality of the earth, progress versus plunder, and hopelessness being a luxury we cannot afford in the fight against environmental catastrophe. But they sound generalising and familiar. Where Rewind led with specificity to evoke intense emotion, this is a disjointed screed that leaves you impressed yet oddly unmoved.
New Diorama theatre, LondonEphemeral Ensemble’s atmospheric but unfocused follow-up to Rewind depicts the west’s ecologically ruinous colonisation of Latin America from a feminist perspectiveThe previous show devised by the international theatre company Ephemeral Ensemble was subtle, horrifying and exhilarating: Rewind, about Latin America’s “disappeared”, landed a punch straight to the gut and was, for me, one of last year’s most memorable plays. Director Ramon Ayres employs a similarly striking blend of sound, visual effects and physicality in Uprooted, but the story does not quite cohere, despite some individually superlative scenes.The drama is once again set in Latin America, and this time depicts the advent of western imperialism and its ruinous effects on ecology, indigenous life and the climate. Deviser-performers Eyglo Belafonte, Josephine Tremelling, Louise Wilcox and Vanessa Guevara Flores give spirited performances, and there is an overarching eco-feminist message that connects gendered violence to the rape and exploitation of the land. Continue reading...
The previous show devised by the international theatre company Ephemeral Ensemble was subtle, horrifying and exhilarating: Rewind, about Latin America’s “disappeared”, landed a punch straight to the gut and was, for me, one of last year’s most memorable plays. Director Ramon Ayres employs a similarly striking blend of sound, visual effects and physicality in Uprooted, but the story does not quite cohere, despite some individually superlative scenes.
The drama is once again set in Latin America, and this time depicts the advent of western imperialism and its ruinous effects on ecology, indigenous life and the climate. Deviser-performers Eyglo Belafonte, Josephine Tremelling, Louise Wilcox and Vanessa Guevara Flores give spirited performances, and there is an overarching eco-feminist message that connects gendered violence to the rape and exploitation of the land.
Musical compositions by Alex Paton, who sits on a raised platform on one side of the stage, certainly carry great levels of drama. Marco Curcio’s magnificent sound design adds ambience, embroidering bird-sounds with the babble of streams, the sound of chainsaws and earth-rattling rumbles. Tremelling’s lighting design is wondrous too, using miniature models of houses lit up from the inside to depict displacement, and shadow-play from within a recycling bin, as well as imaginatively using of wind-machine and muslin to depict rippling water and, at one point, a thunderous landslide.
But despite this stagecraft and immersive atmosphere, there is little specificity to the story and minimal character building. Characters fight against the colonial destruction of their land and are angry, but they are almost as faceless as the occupiers, who wear martian-like metal facemasks.
Uprooted touches on more issues that it can possibly do justice to within its hour-long duration, from female activism against colonialism and climate disaster to child labour, economic disruption to local communities, violence against women and more.
It is frustrating that the script seems so generic in its messages and didactic in its delivery. Indigenous people fought and resisted western occupiers, we hear, and one defender of the land is still killed every other day. A quiz delivers more facts and figures. Strident statements are made about the centrality of the earth, progress versus plunder, and hopelessness being a luxury we cannot afford in the fight against environmental catastrophe. But they sound generalising and familiar. Where Rewind led with specificity to evoke intense emotion, this is a disjointed screed that leaves you impressed yet oddly unmoved.