Domestic Labour, everything theatre

“…the performance was much more theatre than dance. It addressed a range of themes and ideas drawing on the experiences of the Iranian-British male author: feminism, domestic responsibility/burden, motherhood, revolution, sex, bicycles and headscarves…

“…The dark stage was peppered with old-fashioned hoovers and appliances each lit with a small spotlight. It was a striking visual. As the performance started, three women interacted with these props in a range of ways, from cradling them like a baby to holding them like guns. They showed both affection and aggression, much like the emotional life of a vintage housewife. This sequence showed subtle influence by contemporary dance…

“The performance was incredibly visual, though not without some technical hitches. The lighting design seemed well intentioned, but did not always suit the staging. For example, one moment had the performers’ faces in darkness whilst the rest of them was lit. In another, a light box was not big enough to light all three…These problems were countered by stunning moments, such as creating a stationary bicycle using a small heater, a hoover full of dust and a bike…

“The show was non-linear, passing back and forth through time. An Iranian man marries an English woman in the present day, but Iranian women are emancipated in 1936. Several characters experience a revolution and discuss the withdrawal method of birth control. These women, though indistinct characters, still provoked audience empathy…

Read the entire review on everything theatre here.

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