Phoenix Rising is a site specific piece first staged in 2013 - this 2017 version is in memory of an inspirational cast member who unfortunately passed away last year.Set in the underground car park of Smithfield Meat Market, this raw, emotional and brave piece of theatre is a great testament to the amazing work that theatre company The Big House are doing within the community. Phoenix Rising tells the story of Callum (Aston McAuley), an 18-year old leaving care. Although he is a very talented athlete, everything that he comes up against, including the lack of help from ‘the system’, leads him straight into poverty and a life where he is always running in the slow lane.
We are taken to the underground location, which is set up as a running track with the actors preparing for their race. Callum is the front runner on the track, but as we are taken around the space to different areas of his life, we see the cracks start to appear. He comes up against every barrier imaginable and it is easy to see why his life begins to spiral out of control.
Deftly directed by Maggie Norris, we follow the story with ease. With many other site-specific pieces, it can be hard to follow the action without feeling like you are being moved around like a herd of sheep. But with this, the transitions are seemless. Using simple and sharp lighting changes, we find ourselves running to the next area so as not to miss any of the action that has already started. This is impeccably timed - the main action never seems to begin until we have all made our way over.
The car park has been effectively transformed into the many different locations, including the running track, the park and Callum’s first home. This space is perfectly suited to the piece. It's cold and unwelcoming, and standing means that we are never really comfortable. Perhaps this is how we are meant to feel - after all, a life in care can sometimes feel the same.
The Big House was established in 2013 and has a mission to enable people who have been in care to fulfil their full potential. The cast is made up of actors who have been through the care system and can relate first hand to these stories. At times, the lack of training becomes apparent when trying to access these roles, but the connection with these kind of characters and situations shines through, bringing the story to the forefront. The ensemble overall work really well together creating the world they are so familiar with and sharing it so openly and affectionately with us.
Rebecca Oldfield in particular, playing Callum’s mother Julie, is mesmerising. She perfectly captures the fragility of the character and is so emotionally available that as an audience, we really root for her to overcome her problems and look after her children. Of course, she never does.
This is a new and exciting company sharing important and potentially life changing work in a wonderful location. Callum’s story doesn’t have a happy ending; he is not even a particularly likeable character. But Phoenix Rising is a story of hope - and what do we have if we don’t have this?
The small intimate space of the Park 90 is the perfect setting for this powerful play written by Matthew Campling. The Secondary Victim in the title refers to therapist Ali, who receives a letter stating the allegations of sexual misconduct by her, to a former client, Hugo. 