The Acts, CRIPtic Arts Review
Written by Danai for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
The Acts was an ambitious endeavor that brought together four different theatrical pieces, each exploring distinct aspects of disability and personal experience. Presented at The Pit of the Barbican Centre, it's structure, which presents a variety of themes and perspectives on stage, offers audiences a nuanced understanding of the challenges and realities that people with disabilities encounter.
Overall, it was a strong production and an interesting fusion of different theatrical approaches and theatre companies. However, there were a few technical issues that, with time, could definitely be refined. In any case, it’s crucial for this kind of representation to exist—especially in theatre, a space where accessibility is still often lacking, and where inclusivity is not always prioritized. In the case of the very first piece, Autistic as Fuck, written by Stephen Bailey, it was refreshing to see a performer on a wheelchair with beautiful acting skills on stage, while at the same time neurodivergency was discussed in a way that connected the audience to the performers' and creatives' challenges, but also made clear some areas that might be unknown to some. Including what is supposed to be a video call and adding a video projection to the piece didn't really work and unless there was a reason behind this choice, I strongly believe that changing that would have helped way more for the piece to develop organically and feel more natural.
From a dramaturgical standpoint, some segments could have been more powerful and intense and there’s plenty of room for further growth. The third act, To Rose on Her 18th Birthday, although the most impactful and moving -yes, I too cried by the end of it, could develop into a more theatrical piece, but of course this doesn't take away from it's importance. Being a letter to the performer's daughter for when she becomes eighteen, when her mum might not be around anymore, it's a piece that was moving but also found a way of emphasizing life's importance and filled the viewers with hope.
The Acts as a show overall deserves a lot of credit for striving, and I believe succeeding, in being genuinely inclusive: there was a sign language interpreter, captions, consideration of sound needs for neurodivergent individuals, and overall, an awareness of everything necessary to ensure that not only the cast but also diverse audiences could fully experience the show. There were also moments, like the case of the second act, Over the Moon, that it was technically flawless, offering a unique visual experience to the audience.
The final piece, PostHuman was truly memorable. With a more abstract and performance-like approach, it allowed each audience member to connect with its meaning in a personal way. The use of live music was excellent as well as the canvas painting and clothing, all of which felt like a punchline for the whole show and let the viewers enjoy this last bit and interpret it in their own ways.
Given that The Acts consists of four entirely different pieces, it’s challenging to judge them as a single entity, and perhaps it wouldn’t even be fair. What I can say is that, overall, this event succeeded in highlighting the possibilities and potential of theater created by individuals who have often been marginalized, whose artistic voices we too rarely get the chance to see. It reminded us that there are countless creatives with unique perspectives, and that in 2024, there is every reason for theatre to be accessible to people of all backgrounds and abilities.
It would be incredibly interesting to see these same performances developed into full-length pieces in the future. I believe that would reveal even more of the depth and value that this kind of theatre can offer.
★★★
