MIF21

Notes on Grief (MIF21) at Manchester Central

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Image credit: MIF21/ Notes on Grief

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

‘If we love, we grieve. That’s the deal. That’s the pact. Grief and love are forever intertwined.’ So says Nick Cave, a man writing about grief more vividly and eloquently than anyone else currently alive (for my money, at least.) A similar sentiment is the ultimate destination and realisation of Chimamanda Ngozi Adichie’s Notes on Grief, one of the flagship performances as part of the 2021 incarnation of the Manchester International Festival.

The text of the piece is taken verbatim from a New Yorker written by Adichie in the aftermath of her father’s passing in 2020. Whilst the death itself was not covid related, the grieving process for a family spread over several continents was inevitably seriously hampered by the ongoing pandemic.

One of the most timely commissions in the history of the festival.

Whilst a magazine article about grief may not sound like fertile ground for a compelling piece of theatre, Rae McKen’s staging of the text converts the extremely personal events detailed into something more universally recognisable, especially after an 18-month period in which so many of us have lost loved ones and been denied the catharsis of communal grief. In this way, this is one of the most timely commissions in the history of the festival.

Michelle Asante’s central performance representing Adichie is strong, natural, and allows easy empathy from the audience.

Michelle Asante’s central performance representing Adichie is strong, natural, and allows easy empathy from the audience, which is essential to the function of a piece this intimate. However, the frequency of stumbled lines makes it difficult to remain entirely immersed at times. The supporting multi-roling of Uche Abuah and Itoya Osagiede is a great boon to the world building, and their changing dialects (coached by Mary Howland) are remarkably strong.

The sound design (Edward Lewis) is sparse yet emotive and impactful and augments the text beautifully. It blends well with the movement (Yami Löfvenberg), however some sections of movement feel contrived and almost amateurish, especially towards the beginning of the piece.

So Notes on Grief is not without flaws, but its heart shines through – bruised and beaten by the cacophony of grief but not dimmed, and able to outshine any of the imperfections which might have a greater impact on lesser work.

-Daniel Shipman

Notes on Grief plays at Manchester Central until 17 July 2021.

The Global Playground (MIF21) at the Great Northern Warehouse

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Image courtesy of Chris Nash.

Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐

The Global Playground is a joyful exploration of interconnectivity and playfulness that is bound to bring a smile to your face – whatever your age. It follows the turmoil of cameraman Sean (Sean Garratt) as he tries to put together a film despite the mischievous antics of the cast members. Dancers Jahmarley (Jahmarley Bachelor), Annie (Annie Edwards), Kennedy (Kennedy Junior Muntanga) and Charmene (Charmene Pang) consistently divert the recording with their escapades as they explore the stage with childlike wonder – reminding Sean that sometimes we all need to let loose and have fun. 

The cast command every inch of the stage that they occupy with their captivating, natural fluidity of movement.

In doing so, the cast command every inch of the stage that they occupy with their captivating, natural fluidity of movement and motion. Gregory Maqoma’s choreography is the perfect blend of effortless fun and spectacular physicality, with the cast moving in unison to create beautiful, joyful dance sequences interspersed with everything from puppetry and ventriloquy to physical comedy to keep the youngsters in the audience engaged. And each of these elements is seamlessly incorporated by the magnificent cast. Sean Garratt is also fantastic as both the cameraman and the voice behind Terry the puppet and the camera itself, making their characters just as vibrant and lively as the rest of the cast. His comedic timing and physical comedy are excellent, particularly for younger audience members. 

Although, some children may struggle to engage with the longer sequences without an interest in dance. While captivating for older audiences, the contemporary elements may not be as engaging for younger, non-dance fans. However, for those interested in dance, this piece is the perfect blend of entertainment for both adults and children, combining stylised elements such as vogue with a fuzzy orange puppet called Terry. There are even educational elements, allowing children to learn about how films are made through watching the cast incorporate equipment such as lightboxes, tripods and reflectors. 

A carefree, bubbly performance for all ages.

The ways in which Guy Hoare’s light design and Maqoma’s choreography involve these in the dance sequences is truly mesmerising, with dancers using the reflectors to create dazzling displays that flood the theatre space with light. Each time, the cast interacts with the equipment in new and exploratory ways, whether it’s wearing lightboxes or turning the camera into a sinister monster. And all of this is tied together flawlessly by Ayanna Witter-Johnson’s music and the musical performance of Merlin Jones, providing the perfect connection between such stunning visuals and styles of movement. 

Every child will be able to see themselves represented on stage in a joyful way.

Most of all, The Global Playground reminds us that we could all benefit from returning to the wonder and playfulness with which we explored the world as children, as well as the freedom that it gave us. It is a carefree, bubbly performance for all ages that shows we are far better when we work together than apart – though does not fail to showcase the extraordinary individual talents of its cast. And with such a diverse cast and range of dance styles, it ensures that almost every child will be able to see themselves represented on stage in a joyful way. 

-Megan Hyland

The Global Playground runs at the Great Northern Warehouse until 18 July 2021. Happening as part of Manchester International Festival 2021.