The new play
Shunt Money from the folks at
Shunt - taking place in a huge tobacco warehouse (apparently once owned by Fidel Castro) down the road from their normal premises in the cavernous, catacomb-like railway arches underneath London Bridge station – is certainly visually spectacular in a way that can rival even interactive performance collective
Punchdrunk’s mindblowing theatre productions (which GoodnightLondon has covered
elsewhere on this blog).
Without wanting to give too much away, let’s just say that inside the panopticon-like warehouse, you feel like you are on the set of
Brazil or an updated version of
1984, with dry ice in the darkness and ludicrously dressed riot police (unsurprisingly played by actors/volunteers rather than real police – or at least I’m assuming so) guarding a bronze, huge three-storey Victorian-looking metallic engine structure, replete with steam pulleys, pistons, levers, engines, and dials, resembling something that you might find in an underwater submarine in World War II, or from the set of
Metropolis. Towering in the centre of the warehouse and belching out smoke like some being that’s alive, it’s certainly a site to behold, and is even more spectacular when you are trapped in it’s belly inside, with it’s transparent flooring revealing chambers, rooms and saunas below and above, while a bald figure all in white resembling
Caliban in Greenaway’s
Prospero’s Books descends from ceilings, scurries spider-like through the rooms below and around the opaque roof, and does somersaults around the audience at intervals. Who is the voyeur, the audience or the actors? It’s difficult to tell who is really spying on who, just as the seamless visuals can’t quite hide the handling of the story, which bases itself around Émile Zola’s
L’Argent – a novel in the late 1800s prophetically inspired by the collapse of the French bank
Union Generale, who went under as a consequence of dire financial management, greed, speculation and over-investment. The relevance is obvious when placed within the context of the current financial crisis (particularly the collapse of Lehman Brothers) and the mismanagement that has took place on Wall Street and the Square Mile, yet the dialogue was so cryptic and obfuscated and the script so impenetrable that it became difficult to really know what was going on half of the time when observing the interaction of the characters as they span their baseless pyramid schemes to each other. Perhaps this impenetrability was deliberate, intended to approximate or signify the Byzantine nature of the doomed dealings and wheelings – grounded, as it turned out, on nothing - that was being depicted, just as we now know that much of the financial dealings of business moguls in the real world was based on an illusion.
Regardless, Punchdrunk’s performance of
Faust as a contrast somehow made complete sense even if you weren’t following the story closely, simply because the set design and themes explored in each room captured the story so perfectly and expertly. Still, like watching cities being engulfed by tidal waves and storms in
The Day After Tomorrow while ignoring the schmaltzy Hollywood character plotting, the visuals alone made it worthwhile. After attending this and the Punchdrunk performances of
Faust and
The Masque of the Red Death, it seems obvious where the next location for an interactive theatre performance of this kind should be: Battersea Power Station, a venue that would truly make for an incredible backdrop (which is did, tantalisingly, in
Children of Men, and which has at least hosted a couple of exhibitions). Yet, with depressing inevitability, the status of that stunning monument, just as with the handling of the banking system by those responsible that led to the current financial meltdown, remains mired in staggering mismanagement and negligence. Even if
Shunt Money’s script was flawed at times, its central message has never been at a more prescient time.
Shunt Money image: © Shunt Money website/Christopher Sims.
Battersea Power Station photo: © Saatchi Gallery website/2006 Parkview International
So, RIP The Foundry (and Bardens Boudior and The Cross Kings while I'm at it). The last real bastion of anything truly left-field on Old Street has been replaced. Goodbye to the sense of individualism, of a semi-unregulated place full of strange and weird things going on, where there’s multiple TVs bunched together showing weird stuff, where people snog under banners saying ‘I SH*T’ and where bands prance around with people dressed in Roman toga gear dancing to the sound of saws being bowed and transvestites singing about No:ID cards (see picture below), backed up by women mummified with tin foil covering their heads stumbling blindly around the stage.
Goodbye to a place that serves lots of local ale (*) as opposed to only cans of Carling at £3:75, and that has a sense of anti-corporatism. Goodbye to a place that shows local artwork, weird improvised theatre/music hybrids, drawing classes and ranting poetry. Goodbye to the notion of being able to go to an interesting place that doesn’t have a half-witted security guard instructing you what to do (see also: the demise of the Spitz). Goodbye to that big sign that said “Awesome: I Could Fuckin’ Do That”, or some-such. Goodbye to memories of playing in an analogue synth orchestra for three hours and watching people bash huge metallic pipes that stretch to the ceiling in the name of art. Hello to mediocrity and another hotel, most likely anodyne and exactly the same as the one around the corner, sponsored by Hackney Council (authors of the Hackney Ocean and Stoke Newington Sports Centre - remember that? - no less).
