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PRODUCTION | the candidate

The Candidate was a site-specific, immersive theatre piece that was devised and staged by Persona Collective in 2019 at The Langham Club; a traditional working men's club on Green Lanes, near where we all live in Haringey, north London. The show examined and subverted the concept of 'the family', presenting a surreal exploration where characters act as family members to fabricate a false reality. The story is a metaphor for a failed socio-political and financial system in which the role of the family is to prepare themselves to form part of an absurd and competitive system, with no way out.

 

The audience experienced the piece by moving together from section to section as different parts of the club opened up throughout the performance. The show involved about 25 performers, aged 21–84, five live musicians and several designers. The club was open to members during show nights, so the audience were never quite sure who was a performer and who was a punter, or what was spontaneous and what was rehearsed. Here, the strange pathologies of human behaviour are dissected and the characters find themselves falling down a symbolic rabbit hole, slowly losing control of events and culminating in an intoxicated awakening that is a celebration of human affairs and rituals.

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SITE-SPECIFIC | the candidate

Part of working site-specifically is about dialoguing with, and potentially around, the uniqueness of what the space and its architecture have to offer. The show's narrative and scenography emerged from the place itself - The Langham Club, which has existed for over 100 years but its numbers are really declining. The piece was derived from the club, which for many years has functioned as a communal, intergenerational living room, with all the love and fall-outs, gossip and giggles, fond memories and baggage you'd find in any tight-knit community with a lot of history.

 

Persona Collective seeks to involve local communities, including both amateur and professional performers, in co-creating its shows, while also using buildings and spaces that are either overlooked or at risk of slipping from living memory. We became members and spent several months hanging out there, getting to know the regulars and attending bingo nights before developing the show. A couple of the club's long-standing members performed in the show too, including the bingo lady, who starred as herself.

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AUDIENCE EXPERIENCES

Dr. Dick McCaw, Senior Lecturer, Drama & Theatre Studies, Royal Holloway, UAL

I usually judge a performance from the very first moment. My first experience in The Candidate was my awareness that I was not sitting beside a normal member of the audience - clearly this person was a performer whose discrete, understated movement score set her apart from the rest of us. I loved the subtlety of this opening moment in the club bar. This mixture of the everyday and the artistic was a theme that ran throughout the performance, and which resulted in a great part of my pleasure. As we moved through the building the performance developed. The use of this space was masterly and highly effective. The moves through the building allowed for some very beautiful processional movement. I loved seeing trained and untrained movers leaving the ballroom - it was very effective in its humanity. The involvement of members of the club was achieved perfectly. There was no condescension or worthiness. They were part of the fabric of the piece. I particularly liked the Bingo and the introduction to the history of the club. The situation of the performance was part of the meaning of the piece. This was a delight from start to finish.

Ruth Cherrington, Working Men’s Club Historian

The Candidate: Revival at The Langham Club. If someone had said to me said to me a year ago that the Langham Club on Green Lanes, Haringey, would be the venue for performances of contemporary theatre, I would have smiled. And politely nodded whilst believing that to be extreme wishful thinking. The Club, established more than a 100 years ago, has seen much better times when it was full of members and their families but in more recent years has been decline. Too many empty seats. Smaller and smaller audiences. Members growing older and not seeing many younger people coming in. I hoped that things would turn around and it would once again claim a central place in the local area, with its facilities be fully used especially the wonderful concert room and dance floor. I had known too many clubs go into this decline and be closed for good. All the histories and the possible futures wiped out forever. But contemporary theatre performances did indeed take place in April 2010, which represented not only a new and dynamic form of entertainment in the Club but also a sort of revival. For these performances didn’t happen overnight or without a lot of work by the collective members during the previous months.This group of incomers to the area had walked past the Club and wondered what it was, what went on inside there, who owned or ran it. They were sufficiently motivated to satisfy their curiosity to go on and find out. They saw the history, they saw what the Club had that wasn’t being used enough and they saw the potential for the future. But more importantly they saw the long-term members who had been using the Club most of their lives and what it meant to them. They understood that this Club was to be cherished in some way but could do with some help too. And so began a creative project that would involve Club members, that would work with them and that would make use of the whole place. Rocio and her team worked on their relationship with the Club members including the management committee. This is what I first noticed when I met Rocio in the Club one chilly winter’s evening. I could see how the older members, who I had met some years back and saw each time I visited the Club, had accepted these younger people. They were interested in and receptive to their plans and the breath of fresh air that would come whistling through the old place. Rocio and her team organized some acting workshops and through their persistence these took off. I could only to think to myself, ‘acting workshops at the Langham, well I never’! But why not? Clubs were renown for fostering talent, going right back to their 19th history and many performers- actors, singers, musicians, magicians and more- began their careers on the stages of the thousands of clubs up and down the country. Rocio and her team were making that link with history whilst having their mind firmly on the future. They also used the Club for pleasure, bringing friends along and boosting numbers in the evenings, filling seats that had too long been empty. I went along one Sunday evening in December 2018 and was happy to see the group playing bingo, some for the first time ever, and enjoying themselves on the dance floor too with other members.

Donald Hutera , Arts Writer for The Times and others

I’d never expected to be visiting the Langham Club on Green Lanes in north London on a Saturday night in late July, and certainly not to see an epic, community-based and rather peripatetic performance steered by a dozen-strong group of artists known as the Persona Collective. The truth is, although I live on Green Lanes I didn’t even know that this old-school working men’s establishment existed. It was, as it turned out, a great time-warp of a venue well-suited for the work being presented and adroitly used. Featuring a cast of close to two dozen ranging in age from 18 to 82 and, as I was informed, drawn from 16 nationalities, ‘The Candidate’ – or, as the title appeared on the promotional material, ‘Candidate (The)’ – was an ambitious and surprisingly effective undertaking. It grew out of ten months of workshops with local people who were ultimately joined onstage by professional performers. Tainted with absurdity and surrealistic touches, this impressive show’s dramatic focus was on familial ties stretched thin enough to break. The gist of it was that we don’t choose our relations but, if we could, would we swap our circumstances or background for someone else’s? How would it feel to be evicted from your family, or to be rented out to a unit of strangers after auditioning for a role? The piece progressed through three rooms. The first was the public bar at the front of the club where just about anybody present could potentially have been a performer. There was minimal interactivity thanks to a couple of actors who shifted around between us, offering a short set of instructions on how to cry. There were also several television monitors dotted about it, one of which was watched by five mannequin-like people who were also in the video footage onscreen. They sat grouped on or near a sofa like a ‘perfect’ family save for their frozen, rictus expressions (and, as I noticed, a large blood stain on the front of the shirt of the older father figure). We were ushered into an adjoining room – another bar area, bigger and more rectangular in shape with audience seating on both sides. A young woman, one of the daughter types from the family quintet, sat near and started talking to me about love (incestuous, she professed) until her words were interrupted by a sudden earthquake-like occurrence which made all of the players in the room bounce and jiggle. The lighting changed – darker, moodier – and a mature woman danced in a manner that slipped between sensuality to youthful playfulness to something like romantic longing until, eventually, she was joined by a swarthy young man for a brief duet that ended in a kind of Pieta-like embrace. There was also a parade of bodies escorted while rolling across the floor beneath large, opaque sheets plastic. This could be construed as a sort of death march. There was also a more familiar group dance with rhythmic, vernacular-style unison moves set to vintage pop music. All of this activity was a prelude to the room’s major scene, a family meal into which there were some intrusions, including the entrance of young man and woman meant to replace the daughter.

Marcela.I Villa Lobos, curator at
the Venice Biennale 

Immersive theatre and site-specific performances are enjoying a popular come back in our over saturated digital virtual age. Many shows crossing paths between non-linear narrative theatre, spatial design, dance, live music and contemporary art, propose unique experiences that allow us to reconnect with our own physicality and temporality. The Candidate, Persona Collective’s latest show at the iconic The Langham club, a real hidden gem in North London, is one of such productions. The old working men’s club, established in 1910 and faithful to its roots, is the perfect location for such ambitious projects. The lines between stage and the performance itself are very thin, allowing the spectators to observe and at the same time explore without been exposed. The space is not only a source of inspiration but it has a role on its own. The members of the audience are graciously invited to follow the actions from space to space, slowly revealing an ingenious series of scenes and dance performances tailored made for each room. You breath Pina Bausch and the German expressionists. The brilliantly selected performers, from all backgrounds, ages and accents, have the refreshing false spontaneity of Harold Pinter’s plays: a certain level of improvisation is present but you know it has been carefully planned. The surreal sequence of scenes questions the concept of disruptive family at its raw state. A normal domestic scene of a family at the dinner table is interrupted by a delegation of inspectors in charge of assessing behaviors inside the household. This breaks the familiar nucleus and instead of going deeper into the psychological drama, the father gets to replace wife and children quickly and easily. The new set of actors, unsatisfied with their own performances, start the scene over again, and again; inside a dangerous endless game in which archetypal tensions get untangled with the immediacy of modern consumerism. The unsettling characters, interchanging roles, stuck in their own loops or dragging chairs as human snails gently timed by a beautiful Italian folk song, are excellent companions to this fabulous journey into the absurd. Fellini would have been proud to see his legacy adapted in such creative way. The absurdity is intensified by the fantastic lighting effects. The colorful contrasts remind us of Storaro when red invades a whole room and of Hitchcock when the intermittent flashing lights are in perfect sync with the actors’ movements. Furthermore, in each scene, furniture and costumes magically add a degree of mystery to the entire visual composition. The show is not only screaming David Lynch’s imagery and atmospheres, you are inside them. The Canditate is undeniably visually and conceptually rich in cultural and artistic references but what makes the show truly exceptional is the fact it becomes a rare moment of pure creative exchange. It’s a time frame in which experienced artists, community members and spectators freely engage in an ongoing fluid process and without realizing it, they all swim in the same waters.

More Audience Reviews

ELLA .P "Very inventive, beautiful use of the space, and inclusiveness of cast members. the timeless costumes and color tones used, group dances and ensemble wor, layered meanings in the movement, and live music." JANET .E "I thought it was brilliant, extraordinary, riveting, fascinating" D.M. "I definitely enjoyed it --- I thought the use of space was fantastic, and I loved the atmosphere you managed to conjure up. There were some really wonderful moments - some that I remember: the red-lit bar seen from a distance (I'm not sure why, but it almost felt like a Peter Greenaway film); the endless procession along the long diagonal at the end. I really enjoyed the ambiguity about who was an actor, and who was just a regular punter at the bar at the beginning" PAV .T "The candidate was fantastic. It was never always clear whether something was reality or an artistic construct. For example, was the bingo caller in the show really the bingo caller in the Langan club; was the lady who spoke to me in the bar before the show opened the local lunatic or part of the show? Etc etc.This made me challenge my perceptions of reality. I was mesmerized all the way through as the show presented the concept of the heteronormative nuclear family as a social construct. I loved the way it made me feel edgy at first, not knowing why and gradually realizing that the play was all about training people to fill the roles in the family society expects of them. By challenging me on what was real/unreal in the performance, it helped me think about what is natural or a social construct in the way our families and society construct our psyche. Great stuff. Well done all" DAVID .H "I loved the arrival space, the family sat watching tv amongst the same space as punters. The people who came up and recited poetry to us. The movement into the first hall where a dance performance ensued. Why were people in plastic bags? More 1:1 narration. I felt exposed, part of the proceedings, challenged to make sense of what was happening. The family interview. Is this black mirror? Is this some dark world where people don't have real families and hire people to play the roles. No.. it's some kind of casting. Loved the dance hall scene, live band. Awesome music. Bingo. References to the space that we are in — a social club — and the importance of it as a community asset. Overall I found the production excellent, thought provoking" F.F "Really powerful at times, really funny at times. Abstract but enough hooks to help you feel engaged and connected. Amazing use of the space. I enjoy the really physical element of it. I came back a second time because I felt there was more to gain from it. You can tell that the performers are bringing their personal stories into it" CAMERON .W "I loved this production: from the subject matter to the dance, movement and music, to the interaction with us the audience, the playfulness, the seriousness of the theme and the connection with the Langham Working Men's Club" TIM .F "Yes I thought the show was great, especially the music and the dance performances - also the venue was great and staff there very welcoming!" KAREN TURNER "Great immersive theatre experience with a talented cast" T.S. "I loved the piece and am excited to see more from your company. I was impressed by how well the diverse cast blended together, and I especially liked how successive parts of the location were revealed as the evening progressed; the opening of the doors to the dancehall was a striking moment. It was interesting to learn that the artistic director is Spanish, as the show definitely made me think of Bunuel movies at times" MAR .R "It was an amazing experience!!!" SAM .A "Yes! Totally loved it. Visually stunning, thought-provoking, David Lynch like. The relationship with the venue was excellent - bingo was inspired" B.K. "Mind blowing in some respect" FARID .A "I didn't expect that local people can play roles as good as professional actors" ELIZABETH .A "It was amazing!! I have seen the performance three times in total, and have been wowed every time. The dancing, the acting, the music, the interplay of all of these with the lighting, the use of transitions - the atmosphere - spectacular!" DELFIUS "I loved the use of the space (multiple rooms opening and closing); bringing the audience into the piece; the piece being very intimate in terms of relatively small audience. Good shuffle between smaller and bigger scenes, with less and more actors. I liked different levels of tempo and intensity; including very slow, or even still, and silent moment that let us breathe" LUCY DINNAGE "Yes, it was so engaging and really beautiful. Loved how the space was used, and how the audience were move from room to room. Felt fully immersed in the world that was created." SALLY .P "I have spent weeks thinking about the piece after attending. It's moving, thoughtful and gutsy. I would invite friends to come along with me next time if I had the chance" RACHEL .B "The Candidate was mesmerising, beguiling, immersive. I would love to see more site specific large crowd stuff like this. The live music was an especially nice touch. Although I appreciate the conceptuality, it often verged on art rather than theatre"

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Special thanks to:
Lorna Crouch and Patrick Heffernan - long-term members of The Langham Club who had the courage to join us and deliver a brilliant performance.
The committee and members of The Langham Club - for their warm welcome, support, and for making us feel part of their family.
Pallet Paradise - thank you for providing our first funding for the production.

The Collective

Rocio Ayllon - Artistic Director & Producer

James Fowler - Assistant Director

Maria Armanda Gonclaves - Producer

Vaskar Kayastha - Producer

Elina Ahkmetova - Choreography
Karolina Burlikowska - Photography & Art Direction

Satu Streatfield - Lighting Design & Research
Emma LD - Graphic Design & Production
Jack Wates - Scenography & Production
Antonio Beatriz - Sound Design
Kerem Asfuroglu - Lighting Design & Logistics

Olga Lagun - Film & Video

Host & Collaborators

The Langham Club, Working Men's Club (Haringey)

Dr. Ruth Cherrington - Historian & Researcher

Cast & Creators

Justine Berthault
Charly Blackburn
Finn Boxer
Francesca Costa
Lorna Crouch
Jo Danzig
James Fowler
Melanie Gautier
Emanuela Giacole
Michael Hall
Megan Hatto
Patrick Heffernan

Xi-Mali Kadeena-Guscoth
Valia Katsis

Sarah Kent

Tom Kim

Emma LD
Amy Mauvan
Lucrezia Pazi
Juan Sanchez Plaza
Irene Sinou

Elina Ahkmetova
Pauline Superville
Jean-Charles Wadja

Musicians

Antonio Beatriz - Guitar, Drums
Finn Boxer - Vocals, Guitar, Bass Guitar
Louise Greenfield - Vocals
Xi-Mali Kadeena-Guscoth - Percussion
Femi Oriogun-Williams - Bass, Vocals, Percussion, Clarinet

Support & Sponsors: 

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