‘Occupies a place between living history and immersive theatre’: SUFFRAGETTE CITY – London Pavilion

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London Pavilion, Piccadilly Circus, London – 25 March 2018

There’s nothing quite like a moment of theatre that takes your well-meaning preconceptions and smacks you hard in the face with them, but that’s exactly what Suffragette City managed to do for me. The nature of immersive theatre sadly means that no two journeys will be the same, you might well not have the same lightbulb moment of startling insight that I had. Then again, you might already be aware of how ultimately shallow considering yourself an ally to an adopted cause can be.

Commissioned by the National Trust in partnership with the National Archives, Suffragette City occupies a place between living history and immersive theatre. Tucked away behind betting shops and shopping centres in the heart of Piccadilly Circus, a little piece of 1912 London has been re-created in the form of the Women’s Social and Political Union’s headquarters, a genteel tea-room, and the dankest of police cells. And in these spaces, we’re asked to consider how just how far we’d go for equal suffrage.

At first, the options seem a little jolly, a little light-hearted. You can learn how to make a rosette, you can pick an alias in case of getting caught, you can learn a song and go marching through the streets of Piccadilly Circus banners aloft. But once the option to take on a mission is presented, a growing sense of jeopardy emerges, the cosiness dissipates. I’m loathed to say too much more apart from it was at this moment that that lightbulb came on, as it became abundantly clear how strong the patriarchy is (even if you’re calling yourself Millicent).

And that’s why I really appreciated my experience at Suffragette City. The attention to detail from designers and directors O’Neill/Ross is second to none, and the company miss few opportunities to gently educate and illustrate throughout. The opportunity to debrief at the end is a masterstroke in this respect, allowing time to reflect on what has passed and to compare to the real-life experiences of Tooting dress-maker Lilian Ball from which much of this is drawn. I did not sample the milk punch though!

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Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."
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Ian Foster on FacebookIan Foster on RssIan Foster on Twitter
Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."

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