Based on the novel Hinterland by Caroline Brothers
Directed and Co-Design by Jamie Harrison
Directed by Candice Edmunds
Adapted by Oliver Emanuel
Review by Libbi Hutton
It is impossible not to be affected by Oliver Emanuel’s stage adaptation of Caroline Brother’s novel ‘Hinterland’. Theatre company Vox Motus’ ‘Flight’ approaches the challenging task of telling the story of a refugee’s journey through the unconventional medium of miniature models. Audience members sit in individual booths and, with headphones on, are exposed to the heart-wrenching and terrifying realities of low-wage labour, sexual assault and violence, among further hardship encountered on two boys’ journey from Afghanistan to England.
Although the team took a relatively apolitical approach within the spoken word and did not provide a wider context, the image and story convey a pro-immigration or certainly pro-human-rights stance. We feel the brutality of borders and bureaucracy, and the cruelty of such when witnessing Aryan and Kabir’s hopeful journey towards a safer country. We see also the cruelty of those in power in dehumanising the boys as ‘illegal’, and so creating further barriers to their safety.
The artistry is incredibly moving, with two distinct styles of visual art aiding the story. The sheer volume of miniature scenes (estimating 250), let alone the intricate design of each is commendable. Especially notable was the sound design and music composition by Mark Melville, who captured the cultural soundscapes and traditional music of many of the countries the boys travelled through creatively. Often strange and jarring, the music also reflected the painful and disturbing events of the journey and added a truly immersive element to the experience.
The metaphors within the images are striking, with birds conveying both freedom and restriction; becoming a bird would enable Aryan and Kabir to arrive to London without material restriction; “perhaps we could learn to fly” says young Kabir (voice acted by Nalini Chetty). Yet, dead or menacing birds symbolise lost dreams, closed doors, stark realities and tragic downfalls.
The technical form allowed for a captivating and immersive storytelling, yet the decision to place audience members in individual booths was a strange one. The intention was likely to provide a particularly personal experience, without distraction or outside influence. Yet the effect was slightly alienating and suggested we keep our distance from others around such topics. I felt that I wanted to be sharing the experience with other theatre goers, or have a space to talk after the performance, but instead, the whole experience was unusually solitary.
The ending speaks of life-lessons, and widened the journey outward to become more a tale of determination in the face of struggle, making the story suddenly evidently applicable to every audience member. In a sense, this was the production’s downfall, as it seemed to diminish the boys’ experience to something universally human, rather than a cruel, systematic, and preventable injustice.
‘Heart-warming and Dynamic’
Flight runs at until April 4th.
Running time – Sixty-five minutes without interval
Photo credit: Tommy Ga-Ken Wan
Review by Libbi Hutton – contact@corrblimey.uk
Libbi is an aspiring journalist and creative based in Glasgow. A graduate of Social Anthropology from the University of Edinburgh, she is particularly interested in politically engaged and experimental arts. Outside of reviewing for Corr Blimey, Libbi spends her free time making music, both in bands and on her own, which has recently developed into a passion for writing an original musical. A lover of all-things-performance, Libbi welcomes the opportunity to indulge in the world of theatre.
