Streatham Space Project helped its audience ask questions of themselves during the debut performance of Rage, But Hope. Successful at the Edinburgh Fringe, it continues to explore the empowering effects that the extinction rebellion movement has had on the lives of eight characters.
This is theatre at its finest, encouraging individual thought... hopefully inspiring real change.
Structurally, the show was completely unpredictable, with witty and woeful surprises being thrown out at every turn. Everyone that took to the stage had a monologue highlighting their personal shock and realisation of the actual extent of the climate catastrophe and the movement that seeks to combat it. Included within this piece are think-pieces on the government, the reality of climate change and the creation of a community from the efforts to improve the world. Each actor brought the performance to life, adding even more vibrancy to an excellent script with laugh-out-loud comedy and the kind of personal tragic moments that make an audience lean in and draw breath.
Atmosphere was a part of the performance that was constantly managed and maintained, with each monologue increasing the intensity within the room. The conscious choice to have no staging and minimal props led to the space being used very effectively by the actors, as well as creating an intense tone throughout. To emphasise this further, loud sound bites from news clips, television interviews and protests framed each scene to startle the audience as well as contextualising the contemporary movement – again, a reminder of contemporary significance. Lighting was simplistically clever, with even the audience being lit in some parts, as if to make for a glaring self-reflection, or perhaps a suggestion to open a discussion, about the climate and the extinction rebellion movement itself.
What was extraordinary was the diversity of each character, and indeed, actor. Each character came from a different walk of life, with different ages, upbringings, viewpoints, political stances and life experiences and yet they all have common ground in their passion for this movement. Stephanie Martin’s writing allowed for each performance to rely solely on storytelling and for the sharing of personal experience. Scott le Crass’ direction was mindful of this, allowing for the script to be highlighted with sensitivity and remain completely narrative-led. The movements of each actor were deliberate and purposeful, whilst remaining simple. Not being over-glamourized or sensationalised allowed for a complete focus on the rawness of Martin’s words.
The narrative of this show has been handled exceptionally, with the importance of coming together in difference being a highlight. Instances of those sharing stories within the fictional parameters of the show itself, as well as the communal safety of this theatre space, highlighted a societal relevance and importance of diversity. The importance of inclusion, despite race, class, sexuality, etc. are relevant current concerns and it was fantastic to see that these issues are being addressed within the context of a twenty-first-century movement.
This performance seeks to serve as a reminder for all to consider the world around them. Especially during turbulent and confusing political times, this is a real think piece not just for the characters, but for audiences to stop and think about what matters to them. These eight characters have completely varying accounts and perspectives on what extinction rebellion means, but share a desire to improve the planet.
Rage, But Hope is a fascinating ‘lean-in’ performance that is completely compelling to watch. This is theatre at its finest, encouraging individual thought, sparking collective discussion and hopefully inspiring real change.
