While you might not think Judo and racism are the easiest go-tos for a (sort-of) one-woman show, Jenni Jackson’s expert weaving of personal experience with community accountability in WRESTLELADSWRESTLE cracks the subject matter wide-open in an approachable way, inviting us in to listen and learn.
The piece, at its core, is built off the universal desire we have as humans to assert ownership over our own pain: at least if we can decide when and how it happens, we can be somewhat prepared. Out of this, we learn anecdotal stories, as well as news snippets of traumas that have occurred to women when they simply weren’t prepared. So: Jenni prepares us. What we learn, among other things, is how to get people out of our house when they start to act aggressive. Bringing her ‘girl gang’ onstage periodically, they join us as on-stage audience members when they’re not learning the art of Judo, raising questions of passivity and empowerment.
Jackson’s storytelling, while often highly personal, never errs on the side of trauma-dumping, which is a worry many of us have with the rise in self-penned one-person shows; this is a lesson in living, rather than a lecture on the actor’s life. The layered importance of each segment in WRESTLELADSWRESTLE leads us on an emotional journey that’s a beautiful tasting plate of post-modernism as well as good old-fashioned narration: there’s something here for any type of audience.
While there’s almost not enough time to unpack all the layers in each segment before you’re on to the next one, each beat in the piece does lead us to feel something, always. Whether we’re reflecting on the violence that women endure, or the pain that women can inflict, we’re pointed to a satisfying conclusion by Jackon that never assumes to offer answers but can offer some relief. While we may not be able to fix the bad things that have happened to us each individually, the importance lies in community, to combat the replaying of those bad memories.
While the quality of storytelling is the highlight of the piece, the understated Bolivia-flag coloured mats (the importance of Bolivian culture becomes clear as you understand Jackson’s heritage) and musicality of the piece (no spoilers), provided by Isobel Odelola, heightens the energy and symbolism already very alive within the piece. The subtle lighting, designed by Sarah Readman, glides along nicely, without ever drawing attention to itself, giving us softer moments of the girl gang in a group hug. The piece also incorporates videography and digital captions, projected behind Jenni and the gang, which add a superfluous rhythm to an already brilliant designed show.
Combining theatre, dance, judo and pro-wrestling, Jenni Jackson’s creativity and tour-de-force authorship in WRESTLELADSWRESTLE made for an exciting, liberating and exhilarating watch. It runs in HOME until Saturday the 12th of October.
Reviewer: Anna Ní Dhúill
Reviewed: 6th October 2024
North West End UK Rating:
Juno and the Paycock is widely regarded as Sean O'Caseys's theatrical masterpiece. Set during the…
Offenbach’s Les Contes d’Hoffmann is the most enduring ‘serious’ opera from a composer better known…
This adult comedy show, written by Drew Quayle, follows the antics and everyday life of…
North West End UK’s Deputy Editor, Caroline Worswick, discussed Jermyn Street Theatre’s exciting new production…
With the astoundingly talented and acclaimed Sally Cookson at the helm and a script by…
Reading the 2019 reviews of this show it was natural that I took my seat…