Writers: Aimee Dickinson and Aliya Gilmore
Directors: Olivia Swain and Aimee Dickinson
Concept: Olivia Swain
If you’ve never heard of Lilith, that wouldn’t be surprising. She was cancelled by God Almighty and banished into the wilderness to hang out with questionable types. Lilith was Adam’s first wife but a bit challenging, so after being dispatched, the more suitable Eve was found. But then she too was led astray. Women are weak, you see, and cause no end of problems. This is according to many ancient sources, where many attitudes towards women in Western culture were forged.
In this 85-minute play with no interval, we witness Lilith’s story as part of New Wimbledon Theatre’s Premieres season of new writing. This experimental take on creationism by Ultraviolet Productions is re-enacted with post-modern irony, visual clout and atmospheric sound design and lighting. The story that once only existed as words on a wafer-thin page takes three-dimensional form through physical theatre, dance, performance, and mime. The tree of knowledge in the wonderous Garden of Eden is half-black, half-white and from there dangles a luscious, tempting red apple. Uh-oh.
The performances of Isabel McGrady, who multi-roles as Lilith/Eve and Oscar Nicholson, who plays Adam and Lucifer, are captivatingly directed by Olivia Swain and Aimee Dickinson. Both present a sexual ambiguity, which works well for this contemporary retelling of an ancient myth with its ramifications for gender and norms. As they move in and out of the scenes, they offer commentary as performers, then leap into role and immerse themselves in the story.
Their sense of wonder in paradise is beguiling, and when Nicholson slips into the snake-hipped, oily charmer of Lucifer and moves close to the ground, his transformation is compelling. Sound design by William Lai of the ANTE Collective works to completely draw the audience into this wild tale, while the lighting by Dragos Farcas switches from the harsh glare of modern-day reality to the warm-coloured filters of fantasy and myth.
While the fluid choreography is wholly contemporary, with plenty of mirroring between the two innocents, the dialogue switches from modern vernacular to the classical feel of Biblical text, which occasionally veers into the overwrought and purple. The use of projection design works well, but once the unfurling animation has been deployed, its repeat use feels superfluous to the narrative. This contrasts with the highly effective use of dark ink, stains and soiling, which gradually appear on the pure white clothing, faces and bodies of the characters as they are led irrevocably into darkness.
Lilith is rehabilitated as strong, smart, powerful, and multi-dimensional. As she takes control of her narrative, it’s one that will resonate with many women who have suffered, one way or another, for upsetting the applecart of patriarchy. Now we know her side of the story and how she got there, this character demands a sequel.
Runs until 28 September 2024
