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‘Powerful & determined, channelling timeless emotion’: THE TRANSPORTS – Touring ★★★★★

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Touring – until 24 January 2018

TOP FOLK ON THE ROAD… There are boxes, planks, a rope; around and upon them, singly and severally, still or moving, the aristocracy of modern folk music. Strings, accordion, guitars, oboe; voices hard and clear, powerful and determined, channelling timeless emotion. Theatrecat wouldn’t usually do gigs, concerts, even opera. But this brief January tour is so remarkable, so theatrical in the power of its storytelling, that unless you have a real antipathy to folk, you should know about it.

Besides, it comes apropos on top of that grander chronicle of the late 18 century, Hamilton: because it was after the American colonies had broken free, and because they were not short of slave labour, that our penal system resorted to the more distant transportation whose story inspires Peter Bellamy’s majestic song-cycle. The First Fleet took thousands of convicts thousands of miles to Botany Bay and founded white Australia (the narrator does make, in passing, the point that in effect we stole it from the aboriginal peoples).

Anyway, on the 40th anniversary of Bellamy’s creation, with prisons full again and our own world’s refugees crossing dark water to make new lives, arranger Paul Sartin and Matthew Crampton, who has written about refugee peoples, felt it the moment to revive it.  The Refugee Council has a stand at every performance, and an extra song about the drownings in the eastern Mediterranean by Sean Cooney is added to the original. But it’s the tre historical tale that thrills, and brings together a unique stageful of folk musicians and voices: The Young ‘uns, Nancy Kerr, Greg Russell, Rachael McShane, Faustus. Crampton narrates, Tim Dalling directs.

Told with authoritative passion, the tale is a true and remarkable one, from my own bleak East Anglian fields at a time of agricultural poverty it moves to Norwich Jail, where young Henry Cable meets Susannah Holmes, both reprieved from the noose for theft. Allowed cohabitation but not marriage in the harsh jail they bear a child; but Susannah is taken for transportation to found the colony at Botany Bay. An extraordinary series of events around her embarkation – a separation, a baby saved by unlikely heroism, an ambush of the Home Secretary at his own table – are so well told that I will not in is context spoil it for newcomers.

 

 

In performance it is remarkable: building , mesmerising, Bellamy’s deliberately naif folk rhymes and choruses sometimes rising to poetry but always direct: your nape prickles when Nancy Kerr as the mother who loses her man to the hangman and her son to transport sings . “The leaves in the woodland and the gulls on the shore, cry “you never will walk with your menfolk no more””. There are plaintive songs, but sharp satirical moments as the astonishing Rachael McShane scorns the life of a serving-maid, and lively moments in the Robber’s song and the storming Plymouth Mail on its mission of mercy. The farewell to England brings the whole company together. The great room shakes with it. Can’t stop listening to the album…

 

http://thetransportsproduction.co.uk/tour On tour till 24 January. Final show, Norwich, where it began…
rating  FIVE

 

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Libby Purves
Libby Purves was theatre critic for The Times from 2010 to 2013. Determined to continue her theatre commentary after losing that job, she set up her own site www.theatrecat.com in October 2013. She personally reviews all major London openings, usually with on-the-night publication, and also gives voice to a new generation of critics with occasional guest 'theatrekittens'. In addition to her theatre writing and myriad other credits, Libby has been a presenter on BBC Radio 4’s Midweek for over 30 years. She is also the author of a dozen novels, and numerous non-fiction titles. In 1999, Libby was appointed an OBE for services to journalism.
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Libby Purves on RssLibby Purves on Twitter
Libby Purves
Libby Purves was theatre critic for The Times from 2010 to 2013. Determined to continue her theatre commentary after losing that job, she set up her own site www.theatrecat.com in October 2013. She personally reviews all major London openings, usually with on-the-night publication, and also gives voice to a new generation of critics with occasional guest 'theatrekittens'. In addition to her theatre writing and myriad other credits, Libby has been a presenter on BBC Radio 4’s Midweek for over 30 years. She is also the author of a dozen novels, and numerous non-fiction titles. In 1999, Libby was appointed an OBE for services to journalism.

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