by Luisa De la Concha Montes

Cutting the Tightrope hosts a series of short sketches that are united by the same topic: censorship. It was created as a direct response to the Arts Council England’s now retracted guidance that political statements made by individuals linked to an organisation can cause reputational risks. From the war in Gaza to the rise of authoritarian regimes, each sketch explores the political, social and emotional effects that the lack of freedom of expression may have.

The styles are varied; some sketches use comedy, while others utilise fiction. For instance, “Watermelon” is a fresh version of Tom & Jerry, where Tom is a pro-Palestinian activist and Jerry is a right-wing cry baby. The sketch is divided in three parts performed across the night, and it uses slapstick comedy to talk about the power of visual symbols (such as the watermelon in the pro-Palestinian movement) and to ridicule those who want to prohibit their use. In opposition, “Dare not Speak” and “Maulvi’s Head” bring two characters back from the grave, cleverly using fiction to help us imagine what martyrs would have to say if they could speak.

A lot of the sketches are told by migrant voices from the Global South, inviting us to question the role that the Global North (and more specifically, the United Kingdom) has played in creating systemic inequalities. The political angle is prevalent throughout the show, yet the styles alternate between manifesto-like dialogue (as in the case of “46 women attempt a question” or “Another person’s face”), and with the staging of day-to-day situations, such as in the case of “Suitable Subjects” where an artist-activist finally meets her partner’s parents only to realise they are apolitical.

A personal favourite is “The Florist of Rafah”, in which a father and flower shop owner reminisces about his life before the invasion. He joyfully tells us about the man who bought different flowers for different girlfriends, and the couples that bought flowers to make up after fighting. His voice projects a different kind of grief – the grief that can only be found in the face of injustice.

Despite the stylistic difference between the works, all the sketches are united by the desire to make the audience actively think about the role censorship is playing in modern Britain. Additionally, it succeeds at creating a voice of resistance that invites us to openly question the institutions that are supposed to serve our interests. Cutting the Tightrope is a true theatre of resistance, because it demonstrates that multiple dialogues and opinions can (and should) exist together. It feels like a big middle finger to the art institutions currently hiding behind blanket statements.

Censorship is a threat to the arts, and the show invites us to see how the public’s complacency is equally threatening. As the character Hind Rajab says: “My story will have a life, even if you don’t allow it on your stage.”

Cutting the Tightrope ran through 18 May.

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