Written by Simon Jay
Directed by Nicola McCartney
Review by Libbi Hutton
Simon Jay’s verbatim drama responds directly to the growing political urgency of our times. An accurate account of the 2021 Kenmure Street Protests, the play aims to bring a wider awareness to the profound act of successful community solidarity against unjust immigration policing that occurred exactly five years before the play’s opening. Written largely through eyewitness testimonies and interviews, the play holds itself up as an account of what happened on the day of the dawn raids.
The writing connected strongly with the audience through a clear and concise plot line and humorous character portrayals. Although Jay’s political voice was evident throughout, the message of community and hope in protecting neighbours against injustice can be universally absorbed. In an interview with Jay, they explained how the protest ‘wasn’t the job of a movement that had an ideology’, how there were ‘conservative voters in that (protest) crowd‘ and how ‘people who weren’t political did stand up to the police’.
This seems to be the most important takeaway from the Kenmure Street Protests as it shows how the insurance of basic human rights does not always have to be fought on the ideological front, but instead can be built up from a responsive compassion. There were certainly a diverse stream of character profiles without overt political stances through which to emphasise this point, but perfect clarity would have required an added character with a right-wing immigration stance.
Although the story was largely a direct recollection of events, the medium of theatre was utilised well, with interesting staging by director Nicola McCartney, and repeated sound motifs such as political chants and a cappella folk-like melodies. There was perhaps a slight overuse of programmed music such as ‘Sound of da Police’ by KRS One taking the play a little out of context and leaning towards a pop-culture feeling. But overall, theatrical elements were used well, with a well-designed set by Gillian Argo.
An unfortunate last-minute recasting did not spoil the drama at all, only portrayed a similar type of camaraderie between the actors, with original cast member Betty Valencia showing a strong sense of leadership. In fact, the hectic energy created from slightly under-rehearsed rapid character, accent and costume changes, only added to the energetic atmosphere of a diverse street protest. Neshla Caplan and Kal Sabir were certainly admirable in stepping so confidently into this role last minute, and the audience was certainly happy to be along for the ride.
‘Kenmure Street’ written by Simon Jay brings a much-needed return to direct political theatre, a genre of great historic weight in the lineage of Scottish theatre, but one that meekly shows its face in these times of fear of ‘nuance’ and commercial appeal.
A Much-Needed Return to Political Theatre
Kenmure Street ran until May 17th
Running time – Fifty 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.
