I watched Prime Minister’s Question time this week as a result of …oh I don’t know why I watched it. Bang on time, in between waffling nonsense and notably (nicely it’s not so notable nowadays actually) not answering questions, was the standard garbage in regards to the menace of small boats and channel crossings. The Prime Minister and Home Office may actually do with (Ed: a number of swear phrases eliminated) and going to Theatre Royal Stratford East to see How Not To Down, based mostly on the true story of a younger refugee coming to London. In 2002, on the age of simply eleven…
Rating
Excellent
A shifting true story of a small boat journey and an uncaring system, as informed by one man with lived expertise.
I watched Prime Minister’s Question time this week as a result of …oh I don’t know why I watched it. Bang on time, in between waffling nonsense and notably (nicely it’s not so notable nowadays actually) not answering questions, was the standard garbage in regards to the menace of small boats and channel crossings. The Prime Minister and Home Office may actually do with (Ed: a number of swear phrases eliminated) and going to Theatre Royal Stratford East to see How Not To Down, based mostly on the true story of a younger refugee coming to London.
In 2002, on the age of simply eleven years previous, Dritan Kastrati (performed by Ajjaz Awad, Esme Bayley, Daniel Cahill, Sam Reuben and Dritan Kastrati)was despatched from Kosovo to London, crossing on small boats and hiding in lorries. We know that he made it; this isn’t a narrative with that form of suspense, as a result of Kastrati each stars in, and co-wrote (with Nicola McCartney) this manufacturing.
Early on the forged declare “I am Ditran” collectively. It is efficient, and the early resonance with Spartacus lets the viewers see this because the story of 1 journey for Kastrati but in addition as an outline of the numerous refugees which have, and proceed to take, that journey. Building on this, spectacular path by Neil Bettles and motion work from Bettles and Jonnie Riordan permit us to observe shifting character modifications with by no means a second’s confusion, regardless of the forged of 5 taking part in over thirty characters and every taking part in Dritan at totally different factors all through. The manufacturing moreover makes use of motion and bodily theatre to indicate the lengthy journey: our bodies are crammed into small boats; metallic limitations outline queues and alter as an example extra queues, shifting places and international locations. This is evident, straightforward to observe and it appears nice, however there may be additionally numerous narration and exposition, which comes near overload every now and then.
Once in London, there’s a damning indictment of the care system as Dritan’s desires and desires are left not simply unmet however ignored by a collection of social staff and officers who appear to neglect that their job is to assist, assist and shield youngsters. The inflexible system sees him bounce round foster properties, separated from household and buddies and positioned with individuals who he can’t discuss to or perceive. This feels virtually extra harrowing than the journey. Getting to London is introduced fairly matter-of-factly, however the expertise within the uncaring system exhibits extra ache and extra frustration, having rather more of an affect on Dritan and his well-being, each as a toddler and an grownup.
A couple of years older and nonetheless unsettled, Dritan returns residence to see household, to seek out out extra about why he was despatched away. He feels misplaced; there’s a hole between the language and tradition that he was despatched away from and which is fading from his reminiscence, and the life that he now has in London. Where is his residence? Where does he belong? These are questions that many immigrants discover themselves asking however are much more resonant for somebody pressured to flee their residence as a younger youngster.
In the tip How Not to Drown succeeds in no small half because of the presence and involvement of Kastrati himself. Interactions with bullies at school and uncaring social staff may come off as contrived, however his being on stage, exhibiting and telling his story because it occurred, brings a degree of authenticity to every thing current. There was a particular emotional response from each him and the viewers, as he took a well-deserved bow.
Written by Nicola McCartney & Dritan Kastrati
Director and Movement by Neil Bettles
Movement by Jonnie Riordan
Design & Costume by Becky Minto
Composition & Sound Design by Alexandra Faye Braithwaite
Lighting by Zoe Spurr
How Not to Drown performs at Stratford East till Saturday 11 February. Further info and tickets will be discovered right here.