#Greenside@GeorgeStreet | Get Your Coats On

“A balletic psychodrama, energetically blurring the boundary between Jane’s life of confinement and the spectral surreality of her imagination.”

This is a vividly dramatic version of Charlotte Perkins Gilman’s 1892 short story, adapted for the stage as lively piece of dance theatre by sisters Caitlin and Megan Ort: with Caitlin the director and choreographer, whilst Megan doubles as associate director/choreographer and performs the central role of protagonist Jane.

The original story, often anthologised in collections of classic horror stories, is also a milestone in feminist literature due to its portrayal of patriarchal attitudes towards the physical and mental health of women in the late nineteenth century. Gilman’s story focuses on Jane, the wife of John, a doctor who has brought her to a rented country house for a “rest cure” – the standard treatment of isolation and inactivity of the era, prescribed for postpartum depression and what was then called “female hysteria”. Via John and Jane’s relationship, this adaptation highlights themes such as the medical profession’s attempts to silence and subdue women via enforced domestication. The wallpaper of the title symbolises Jane’s descent into madness as she imagines figures behind the peeling wallcovering in her bedroom.

Megan Ort is a highly expressive actor, whose first-person narration as Jane directly engages the audience, with her emotional state enhanced by bursts of vivid movement and dance. Morgan Blanchard portrays her doctor husband John as a loving spouse with sinister undertones as he administers the drugs to subjugate his wife; in this he is assisted by his sister Jennie, portrayed as a darkly smouldering femme fatale by Paloma D’Auria.

The choreographic element of this production does much to bring the supernatural and psychological aspects of the story to life; what would otherwise be mere narration is transformed into a balletic psychodrama, energetically blurring the boundary between Jane’s life of confinement and the spectral surreality of her imagination. The ghostly figures behind the wallpaper and the pent-up emotions in the room are physically brought to life by a trio of dancers: Maya Musial, Annie Sherman, and Claire van Bever. Their viscerally expressive movement is hypnotic as, by turns, they claustrophobically surround and haunt Jane, then express her frustration with wide-eyed writhing and terpsichorean leaps.

This is a feminist horror story like you’ve never seen before. This American troupe brought the audience to their feet for a standing ovation at the end of an action-packed hour in the Lime Studio, Greenside @ George Street. The show runs for the whole of the Fringe, but this medium-sized auditorium has a limited number of seats, so secure your tickets soon.

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“A GRANDMOTHER’S BRAVE SPIRIT; A GRANDDAUGHTER’S BOLD VOICE”

Editorial Rating: 3 Stars (Nae Bad)

This one-woman show, written and performed by New Jersey-based Shawneen Rowe, first saw the light of day three years ago in New York. Using a poignant mixture of live action, video imagery, and projected family photos, Rowe tells the often heartbreaking story of an Italian-American upbringing focused around her Grandma Rosa: one of those great matriarchal figures who battle to hold homes and families together with graceful and righteous strength, whatever life throws at them.

Via the bold voice of her granddaughter, the tale of her grandmother’s relentlessly brave spirit is told in a series of vignettes recalling the tears and the laughter of life in a lively Italian household. In piecing together the life of a woman who survived abuse and the sudden disappearance of her father, we are drawn in to relish in the triumph of Rosa’s spirit as she passes her story down to her granddaughter.

Despite the perhaps sinister-sounding title, this is ultimately an uplifting story: the telling and re-telling of sometimes dark family secrets can drag them into the light to illuminate our histories and unite generations by confronting the mysterious past. The struggles of our ancestors can give shape and bring deeper understanding to our own lives.

Rowe is a seasoned actress and theatre-maker who looks the audience squarely in the eye and tells her story simply, with a single suitcase of props and costume to enable shifts between the roles of narrator, grandmother and daughter, as well as a houseful of male and female Italian relatives.

The only downside of the performance I saw was a ridiculously loud fan in the black box auditorium of the Jade Studio. The recent heatwaves have necessitated air conditioning of some sort in theatres, but this racket made some of the quieter moments in Rowe’s monologue inaudible. This show is well worth seeing, but keep your fingers crossed for cooler evenings, a little more projection from Ms Rowe, or a drop of oil for that fan.