In 1988, Section 28 of the Local Government Act was enacted in order to “prohibit the promotion of homosexuality by local authorities”. Under the Thatcher administration in the midst of the HIV/AIDS epidemic, this piece of legislation was an act of suppression which, in the words of Choreographer and Artistic Director Gary Clarke, “forced many LGBT+ people like myself into a place of secrecy and shame.” DETENTION, the third piece of dance theatre in a critically acclaimed Gary Clarke Company trilogy that includes COAL and WASTELAND, is a heartfelt exploration of the myriad ways in which Section 28 impacted the LGBTQIA+ community. This piece is a eulogy and a protest song: equal parts harrowing and uplifting.
In an age of shrinking cast sizes, it is a joy to see Clarke’s generous, 11-strong ensemble fill the Oxford Playhouse stage. Comprised of six professional performers and five community participants, the ensemble foster an infectious sense of camaraderie and warmth among themselves. Clarke’s choreography is a dynamic blend of muscular physical theatre and fluid contemporary dance. There is nothing dainty about this dance company. Audible breathwork and rhythmical cycles of contorted movement shoot straight to the heart of the pain felt by the central characters. But this is not a tragedy, and there are so many moments of love woven into the narrative. A duet performed by Gavin Coward and Alex Gosmore is a celebration of intimacy and care, whilst also showcasing the strength of the two performers who execute astonishingly beautiful lifts throughout.
DETENTION is a true piece of dance theatre, where text and movement inform one another in a complex and deeply satisfying dialogue. As we move through pivotal moments in 1980s British history, dance steps in to fill the emotional gaps left by the spare text: whereas the script is historical record, the dance is emotional release, allowing the audience connect with the narrative on a participatory level. Evocative lighting design from Joshie Hariette incorporates side lights that create dynamic, painterly shadows on the dancers’ bodies. LED ground lights are arranged at the back of the stage, amplifying the atmosphere by changing colour with the evolving scenes. Costume by Ryan Dawson Laight is strikingly 1980s whilst also presenting a pleasing, muted palate which unites the ensemble and creates visual cohesion.
In the post-show Q&A, Clarke outlined the scrupulous, 6-month research process he undertakes for each show, explaining that historical accuracy was of paramount importance to the company. This care shows up in every aspect of the production: the font for the projections is taken from the 1986 public health campaign ‘AIDS: Don’t Die of Ignorance’, a series of monologues are transcribed verbatim from real LGBT+ Switchboard phone calls, and recordings of Margaret Thatcher’s speech at the 1987 Conservative Party Conference are played in which she warns against “hard left education authorities and extremist teachers”. This commitment to historical accuracy feels like a reckoning with mainstream history, uncovering neglected archives and forgotten recordings in order to foreground marginalised stories.
This is important theatre. It is educational without being laboured, meticulously researched without being cold. It has a central message which is both cautionary and hopeful. As a younger audience member who had never heard of Section 28, DETENTION hit home in the most beautiful way. Gary Clarke Company are taking contemporary dance into a different dimension and coming up with dynamic theatre that speaks from the heart. Making a positive impact across the country, DETENTION is touring to Blackpool and Brighton next and is not to be missed.
DETENTION
Choreographer and Director: Gary Clarke
Text developed with Adam Zmith
Professional cast includes: Gavin Coward, Alexandra Bierlaire, Alex Gosmore, Mayowa Ogunnaike, Imogen Wright, Lewey Hellewell, El Perry and Sarah Squires.
Community cast credited by first name (Oxford Playhouse): Kate, Sue, Sumay, Marak and Star.
Until 15th October
Running time 85 minutes with no interval
Photo credits: Joe Armitage