Writer: Paul Laverty
Adaptor: Dave Johns
Director: Mark Calvert
This brutal piece of realism grips as hard as ever and continues to provoke anger, disbelief and exasperation for the injustices and inequalities it illustrates, which continue to sadly, become the norm.
Ken Loach’s cinematic depiction of working-class Daniel Blake has now become an increasing reality for many more people since its original release in 2016. Ministers dismissed the film as a work of fiction, yet, I, Daniel Blake, is a story backed by facts and statistics, transformed into action and words so wonderfully, creating a masterclass in socialist theatre.
Produced by Tiny Dragon Productions, ETT and Northern Stage; Dave Johns (who played the original Daniel Blake) delivers an adaptation which compliments Paul Laverty’s original screenplay, by how its interspersed with audio excerpts post 2016, from the various Prime Ministers who despite the continued deterioration of our social systems, continue to spout empty rhetoric and promises, with ministers gaslighting the real struggles of the working classes, or rather the ‘working poor’.
Daniel Blake, played perfectly by David Nellist, is recovering from a heart attack and advised by his doctor not to work, is thrown into the unforgiveable, rigid parameters of the benefits system when an assessment with the Department of Work and Pensions (DWP) deems him fit for work. Blake befriends single mum, Katie Jenkins, powerfully portrayed by Bryony Corrigan, struggling to make ends meet having recently relocated to Newcastle with her daughter Daisy, nicely played by Jodie Wild, and despite her pleas, is sanctioned for being late to sign on leaving her destitute, hungry and desperate, succumbing to petty theft and sex work.
Under the superb direction of Mark Calvert, the action and narrative flows nicely within a series of short scenes. Rhys Jarman’s set allows for smooth transitions and the quick formation of the various environments. The billboard frame which tops the set, displays familiar propaganda and slogans, ‘Building a Brighter Future’, ‘Stronger Together’, the juxtaposition of the billboard with what is played out below on stage works brilliantly. The delicious smells of the cheesy pasta accentuate Katie having to forego the meal due to a shortage of food, a sacrifice which is brought to a heart-breaking, emotional crescendo to end act 1, which will not leave you untouched.
Dehumanised by a system seemingly controlled by the ever elusive, faceless, ‘decision maker’ is contrasted by the compassionate, supportive relationships developed between Blake and Jenkins, and the help Blake receives from his neighbour China, brilliantly played by Kema Sikazwe. The cast of 7 mostly double up as different characters with Janine Leigh (Sheila/Ensemble), perfectly captures the impatient, unsympathetic narrative of the DWP worker and Micky Cochrane (Harry Edwards/Floor Manager/Ensemble) who delivers an applause worthy powerful speech, again adapted by Johns to reflect present day. Wild is doubled up as the police officer which would have benefitted from a more pronounced change in characterisation from the portrayal of Daisy, perhaps a stronger change in demeanour/accent.
The play is rated age guidance 14+ due to strong language, death, and ‘potentially’ triggering references to foodbanks, sex work and the benefits system. It seems impossible for this play not to somehow trigger or evoke a reaction in its audience. Whether that be anger, frustration, empathy, even fear. The play touches on a range of social issues including poor housing conditions, zero contract hours (recommend Loach’s film ‘Sorry We Missed You’which depicts living under the pressures of zero contract hours), food poverty and hygiene poverty. What is hoped is that this story reaches those who believe the Ministers who claim it as fictional, as it’s the closest portrayal of a growing reality.
Runs until 23 September 2023