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Writer's Net Article

JAN 16, 2006  

Battersea has always been well known for its 4x4’s and the shelter for homeless dogs, and now...famed for its left wing political theatre.

In September 2004, Adrian Page and Matthew Hahn formed subVERSE, an evening of political and socially conscious theatre. Described as hip, engaging, hard hitting and thought provoking, the key to subVERSE is that each show explores the human consequences of current world events.

subVERSE believes that with words, should come action, and so in addition to an evening of entertainment, subVERSE also raises money for a different charity at each show. T

he edge to subVERSE is in its immediacy, as playwrights are asked to generate new material every month that reflects their concerns about current and ever-changing global conflicts around the world. subVERSE is a collective of artists from all over the world, and because submissions from new playwrights are considered every month, shows are infused with fresh and insightful energy. Since subVERSE first premiered, they have built up a dedicated company of actors, directors and playwrights, as well as a loyal audience following at Theatre 503, the established fringe theatre, re-launched in 2002 with a new name and a new attitude. Theatre 503, above the Latchmere Pub in Battersea, is dedicated to new writing and new playwrights, and very much at home here is subVERSE.

Encouraging both artists and audience to engage with political ideas does not make for a predictable evening of theatre, and it might just ruffle some feathers as the social and political boundaries of the audience are challenged-- as I quickly discovered at their first show. I had just arrived at the theatre foyer, when my attention was caught by two well dressed women, surrounded by shopping bags, and what appeared to be a mound of flesh. The women were having an intense conversation about having to either eat it, or return their new purchases. Suddenly it turned ugly, as one woman stuffs the human flesh into her mouth. I was about to offer her some of my ‘G&T’ to wash it down, when I noticed something else odd-- the women had frozen into statues, and twenty seconds later their conversation began again. But this time they had a bigger audience than just me. This five minute sketch, Consumption, could be described as a metaphor for having your cake and eating it too, as it questions the boundaries of indulging and giving back to society. It is just one aspect of subVERSE’s many creative pieces in a show aimed at attracting a thinking audience.

In 2002 theatre critic Michael Billington lamented theatre’s detachment from the political, but in The Guardian of December 17, 2003 he praised a reconnection with political theatre to the wider world. But, although critics have a roll to play in the encouragement, support and direction of new theatre, so audiences have a part to play, too. They need to form their own opinions and seek out new theatre. In the July issue of Theatre Record, editor Ian Shuttleworth echoed my beliefs: “Let us question. Let us talk. Let us see other ways. Of course theatre in itself can’t win this struggle, but it can serve to keep alive states of mind”. In the new generation of writers at subVERSE, I see this emerging. These writers are asking their audiences to think about the world they live in, they will tackle diverse subjects, and they are not afraid to take risks. This new generation of playwrights is eager to be seen as politically involved, and is asking others to become so as well.

Michael Billington believes that for new writing to thrive, a theatre must be in place solely dedicated to that end. subVERSE has a crucial role to play in giving this platform to new writers, and indeed has already given a voice to over eighteen new playwrights, in addition to establishing a core of talented actors and directors. When David Hare started writing, playwrights who wanted to address social and political issues were on the fringe of the cultural establishment. This, however, was not detrimental in Hare’s case, for Fringe theatre attracted what he calls ‘people who go the theatre in order to think about their own society’. It could be said that subVERSE is continuing the work that David Hare began many years ago and deserve high praise for giving young new writers and artists a chance to be heard and to develop their talent.

If you are interested in contributing, please contact subVERSE@hotmail.co.uk., or call 07968 666 521. subVERSE performs the second Sunday of each month at Theatre 503, Battersea. www.subverse.org.uk

Hopefulness and Realism

SEP 29, 2005

Article from the Morning Star, about subVERSE, its history, and future

Morning Star (Tuesday 27 September 2005)

INTERVIEW: Matthew Hahn

by SARAH IRVING

Director MATTHEW HAHN tells SARAH IRVING what's in store for his broad left theatre group subVERSE.

Fresh from five-star reviews at the Edinburgh Festival, subVERSE political theatre group are back home in London.

Their usual monthly appearances at Theatre 503 in Clapham have resumed, treating left-wing theatre-goers to their eclectic mix of short plays, poetry, music and monologues.

When I was first invited to a subVERSE performance, I had no idea what to expect and I'd seen enough grim-faced, humourless ranting or cringe-inducing attempts at comedy to be wary.

subVERSE, however, has a stated aim of producing the "highest quality theatre," as well as conveying and exploring political messages from a non-partisan but broadly left-wing perspective.

It succeeds, with its performances bearing the hallmarks of tight, disciplined directing and high production values. Combine this with skilled writing and quality acting talent and you have an evening of political theatre that is also great entertainment.

Even the theatrical establishment, unusually for left-wing theatre, seems to agree. Reviews of the four shows that the team put on at the Edinburgh Festival garnered such praise as "Hip, current, political, sharp, dark, engaging and stylish. Unlike shows which exhibit these features only in their promotional material, subVERSE carries these features through to its actual substance" and "The cast is terrific, on cue and on their marks without fail." "An hour that was over all too quickly."

subVERSE has come this far in less than a year. Its first performance, in November 2004, was the result of beer-fuelled plotting between director Matthew Hahn and writer Adrian Page, who wanted to put together an evening of performances which would provide entertaining, informative and politically conscious theatre, as well as a fundraising opportunity for charities and campaign groups.

This framework has remained solid since, with a growing stable of writers and artists contributing their talents to those of the original team.

Hahn, a US citizen who discovered British politics at Goldsmiths college, which he describes as having an activist scene which "puts US universities to shame," set subVERSE's goal "to marry what theatrical talent I have with the desire for social change."

Subjects covered by the theatre's offerings have reflected the concerns and fears of many of the left - US militarism, globalisation, political corruption, Iraq, Chechnya, litigation culture and European integration.

Lest this sound too dry and didactic, some of these issues have been explored through ideas such as homophobic Wookies - yes, our furry friends from Star Wars - and a woman being surgically removed of her ability to feel compassion by a deeply sinister doctor-cum-KwikFit Fitter.

It's not all comedy though - a piece depicting a desperate US army recruiting officer trying to press-gang a small-town guy is raw and disturbing.

subVERSE also carries its political content through to its policy of contributing to a selected cause each month and to periodically hosting forum discussions.

Recipients of donations have included Military Families Against the War, CND, London Detainee Support Group and the Bhopal Project, while forum contributors have included anti-war campaigners and conscientious objectors speaking about Iraq and prison and refugee support groups.

It is this last element which Hahn sees as the most important part of the evening. He makes no great claims for what political theatre can achieve, but he says: "I hope that subVERSE is more than political theatre. I can use good actors and writers to draw people in and get their attention, but, mainly, I hope that, having done that, we then raise people's awareness of the causes that are represented on the night.

"I also think that things happen in the discussions and after the show, in the pub, among the audience or between the audience and people involved.

"That's where I think things that lead to change can happen, not necessarily in the theatre itself."

Hahn's attitude to the future of subVERSE also shows this mixture of hopefulness and realism.

"I'd like to take subVERSE outside its 'comfort zone' of Theatre 503 and the warm cocoon of the London left.

"The great reviews that we got in Edinburgh have, I hope, given us some theatrical legitimacy which could open us up to a wider audience and we have a very solid base from our time in Clapham.

"I'd like to be able to do more nights each month, at other venues in London and to take subVERSE on tour and maybe get to a point where we can pay the actors for rehearsal and performance time so that it becomes more sustainable in the long term.

"We were also approached in Edinburgh about playing in other parts of Britain, so, hopefully, that will be more possible now."

In engaging with the theatrical mainstream, though, Hahn has been challenged as to whether he would admit more right-wing political views into subVERSE, for the sake of debate. "It would be fascinating. My gut says no, but it would be very interesting. In the end, the right has Fox and Sky, it doesn't need subVERSE too."

subVERSE perform at Theatre 503, The Latchmere Pub, 503 Battersea Park Road, London SW11 3BW, at 7.30pm on the second weekend of every month. The next date is October 9 2005.

For more information see the website below or call (020) 7978-7040.

WEB LINK:

www.subverse.org.uk

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Dougies Blog

'...Anyway, it was a short piece, and any emptiness I was feeling intellectually was instantly dispersed by the brilliance of some subVerse people performing three simultaneous soliliquies, poetic reflections on the choices taken by North American characters in their life courses, following the logical economic course to... nothing.

There was something terrible and wistful about the static staging, the three characters, a man and two women, staring out at the audience, never touching or interacting. The sense of alienation and dehumanisation was palpable. The language was extremely beautiful, but I couldn't work out why.

Afterwards I spoke again to Ambjorn, who played the male part, a physical trainer, and said how much I'd enjoyed it and enquired who had written it, and he said Sara Seigel, she's over there.

Well! I was knocked out. We had a chat. The speeches are written in sestinas, a form which requires lots of work on behalf of the writer, but is extremely easy for the listener.

They have monthly sessions at the Latchmere. I'll be going along.'