An admirable and fun performance
Jennifer Jackson uses theatre, dance, judo, and a confusingly large ensemble of women to take us through her memories in WRESTLELADSWRESTLE, writes Melina Block.
There is a clear idea of female empowerment throughout the show, but everything else feels somewhat convoluted. While it is refreshing to see an almost entirely female cast come together, led by Jackson, it is hard not to think at multiple points that the performance feels directionless and unsure of what it is trying to say. This piece tackles some incredibly difficult subjects: racial abuse, sexism, and violence against women. But it doesn’t feel like the sensitivity and tact required to effectively convey such complex and heavy topics is always present.
Jackson’s reflections on an instance of racial abuse suffered by her Bolivian mother are picked apart and returned to again and again. She highlights some tough dilemmas around the way we so frequently refuse to acknowledge or help people in need and the regret and guilt which surrounds the lack of power afforded to women. Generally, though, Jackson tries to keep things light and humorous. Her girl gang – randomly popping up from within the audience and running in from backstage – are key to this. While there are some genuinely laugh out loud moments produced by these eclectic women, there is also an underlying sense that this very much feels like it is meant to be a one woman show.
One moment which particularly stands out is when Jackson is monologuing about a night out gone wrong – or at least potentially so, as a constant theme is that she is an unreliable narrator.
As she stands at the front of the stage, back to the audience, she details all the possible outcomes for a young, drunk woman who was trying to get a cab home. It is probably the darkest moment of the whole show and the shift in tone is jarring. The whole incident is quickly brushed over and the incredibly long interludes of judo practice soon resume. What actually happened? Why has it remained such a pivotal moment in Jackson’s memory? These questions are raised but never explored in a way which feels satisfying. This may be the point but it is a recurring issue; certain ideas do not seem to be given the nuanced handling which they deserve.
Bold, courageous theatre can be messy but it is an admirable and fun performance, although it needs a greater sense of focus and a tightening of the whole piece, WRESTLELADSWRESTLE is brimming with creative potential.
