Ovalhouse, London
****
It’s “because it’s
bent” Mojisola Adebayo remarks tongue-in-cheek, referring to her struggle to
steady a microphone stand. The audience laughs appreciatively at this nifty
irony in the midst of a production responding to the prevalent ‘corrective’
hate rapes in South Africa and anti-gay marriage stances in Britain.
Charlotte (Adebayo)
was born in South Africa and raised in Britain by her adoptive, white, missionary
parents. She returns to South Africa to teach cricket and meets her fiancée,
native Zodwa (Mamela Nyamza); but as she waits at the aisle in a South African
church her wife-to-be doesn’t show at their wedding. Charlotte returns from
filing a missing persons report and we embark on a portrayal of the prejudice
views gay-marriage faces.
Charlotte’s
exaggerated texting is sounded by African drum beats, ingeniously implying a
connection between Britain and South Africa. Combined with the absurd characterisation
of the South African police officer, voicing his opinion that gay-marriage is
‘unnatural’, appraised by Charlotte’s upfront delivery of her Anglican ‘white
daddy’s’ spiel regarding homosexuality debasing the church, it is suggested that
the anti-gay attitudes of Britain and South Africa are far more interchangeable
than we may think. Charlotte sadly contemplates what has instigated hate crimes
against gay women in South Africa and suggests that perhaps ‘phosphorus’ is the
spark, referring to her father’s enlightenment of the element in the country. Here,
Adebayo’s clever script writing infers that attitudes such as her Anglican
father’s prompt the horrific hate crimes seen in South Africa; consequently, the
production offers a fresh perspective which encourages Britain to re-examine
the severity of anti-gay marriage views present at home.
The production delivers
its response via physical theatre, dance, humour, and music which co-exist
seamlessly to encapsulate an undying love which prevails over the
discrimination of the characters’ basic human rights. There is a particularly
beautiful scene where the ‘missing’ Zodwa sprays perfume - representing her
scent - and we witness Charlotte desperately trying to grasp the essence of her
fiancée. The result is a heart-breaking scene depicting two lovers torn apart
by prejudice, trying to reach each other through a supernatural barrier. Their eventual
embrace at the end of this sequence is passionate and we are moved not only by the
passion of the lovers, but the artistic match made in heaven of collaborators Adebayo
and Nyamza. Emotive aspects of the production are contrasted by Charlotte’s
frank direct address through a microphone. The stand-up comedy atmosphere and ironic
humour - such as a joke about the idea of ‘a queen marrying a queen’
in the Royal Family – effectively reinforces the hypocrisy surrounding freedom
of speech and human rights.
The framing device,
in which the audience are the wedding guests, and thus supporters of the
characters’ union, gives us a personal investment and powerfully reminds us
that we have the power to help those subjected to such heinous crimes. I Stand Corrected is compelling, moving,
and affirmative of the need for change with regards to anti-gay marriage
rights. A well-deserved standing ovation from the audience ensued.
This production runs until 8 December 2012
For more information: http://www.ovalhouse.com/whatson/detail/i-stand-corrected
@Ovalhouse @StandICorrected
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