Manchester Theatre Awards

> Independent informed reviews by the region’s most experienced critics


Adapted for the stage by Chris Goode from the original screenplay by Derek Jarman and James Whaley
Royal Exchange Theatre
Royal Exchange Theatre
02 November 2017 to 18 November 2017

Toyah Willcox, who starred in Derek Jarman's original 1978 film, returns to the world of Jubilee for this stage adaptation and update, nearly 40 years on.

This time she is Queen Elizabeth I, whose magician John Dee (Harold Finley) conjures up the spirit Ariel (Lucy Ellinson)—it gets quite Shakespearean in a few places—to transport her forwards in time, not to the broken, depressed streets of the 1970s but straight to the squat of Amyl Nitrate and her fellow residents, now translated into the 21st century.

Amyl acts as narrator, helping to contextualise what we see into the world of today with monologues that are so densely packed with wryly witty observations that many great lines were missed by the press night audience. Performance artist Travis Alabanza gives a brilliantly charismatic and assured performance, having great rapport with the audience, bringing out layers of meaning especially regarding gender and sexuality—a hot topic at the moment.

Also in the squat are Sphinx (Craig Hamilton) and Angel (Tom Ross-Williams)—brothers who spend much of the play naked and in incestual entanglements—fire-loving Mad (Temi Wilkey), sex-hating Bod (Sophie Stone) and nymphomaniac / "sex positive" (choose the language of your favourite era) Crabs (Rose Wardlaw).

Crabs picks up a young musician known only as Kid (Yandass Ndlovu) and takes her to impresario Borgia Ginz (Harold Finley, whose delivery is misjudged to make the character more annoying than funny) who wants to sign her up but Angel and Sphinx try to talk her out of it.

Sphinx and Angel are also sleeping with a performance artist, Viv (Lucy Ellinson), and become part of her show, but the police arrive with guns and start killing people. The co-squatters, to whom the occasional casual murder isn't unknown, decide to take revenge on the police. Amyl gives a depressingly nihilistic speech, then Queen Elizabeth I / Toyah comes down to take over one of her hit songs ("I Want To Be Free") from the person playing the part she originated—complete with panto songsheet in case the audience wants to join in.

It's a rambling mess of a show that's far too long but one that is very entertaining in parts and occasionally has something interesting to say. The problem is that it is all very tame: more jumbled than anarchic. When the renaissance changes to the chaos of the squat, it feels like it should erupt into noise and action, but it's more of a whimper (Amyl later asks for the music to be loud, "not just Royal Exchange loud", but even then it barely gets past teenager's bedroom loud, let alone rock gig loud).

Despite Amyl's speeches, it doesn't feel like a play about now; it's a piece from the '70s with its heart in that decade but with some updated references to make it seem modern. And there's nothing to really challenge or question the views of a comfortable, middle-class Royal Exchange audience in the way that the establishment was shaken up by the punk movement. To be frank, I've been watching writhing, naked bodies on the Royal Exchange main stage in all combinations of gender and genderlessness for the last thirty years, so it's unlikely to raise so much as an eyebrow.

When the biggest worry of the PR department is causing offence by the use of gendered pronouns, it obviously isn't expected that this production will spark the revolution to overthrow our whole system of government that all loyal punks, anarchists and communists in the '70s knew was just around the corner. But it's a lot of fun in parts.

Reviewer: David Chadderton


Comment by David Cunningham

‘ Do It Yourself’ was one of the primary directives underlying the Punk movement; don’t wait for bands to come and entertain you form your own. Chris Goode’s adaptation of the film JUBILEE accords with this approach shifting the focus away from social class warfare towards sexual identity. Yet in a production that tries to achieve too much Goode references so many topics that keeping track of them all becomes a struggle. The Punk concept of ‘ No More Heroes’ is certainty not observed with  Toyah Willcox belting out an oldie and references to the film works of  Derek Jarman who made the original movie. Efforts to include so many topics and ideas result in a sprawling production that does not know where to stop; spilling past violence into broad humour. The depiction of the way that the Punk movement sold out is very well realised but can’t help feel it ought to be played as tragedy rather than humour.