Yvette – Southbank Centre, London

Writer: Urielle Klein-Mekongo

Director: Gbolahan Obiesan

Reviewer: Maryam Philpott

A few days after International Women’s Day, the Women of the World Festival celebrates the strong and talented contribution of women around the world. One such women is Urielle Klein-Mekongo, performing her semi-autobiographical show Yvette which she began as part of her training East 15 Acting School. Now embarking on a national tour, the show combines live music, singing and drama to tell the troubling story of her 13-year-old self.

Dealing with the pressures of being a teenage girl, Evie juggles her growing attraction to neighbour Lewis with expectations of how she should look and behave. At 13, her mum treats her like a disappointing child who ruined her life, while Evie is ready to inhabit her developing woman’s body. After a disastrous night at Lewis’ party, Evie is at her lowest ebb, but then a family friend is waiting to console her.

Klein-Mekongo’s story is carefully constructed, welcoming the audience into Evie’s world, getting to know her before delivering a final powerful section that clearly comes from a place of knowledge. Initially, though, Klein-Mekongo delights in mocking her younger self, the obsession with a local boy, the silly, bullying conversations with friends and the child who thinks she’s an adult. This whole section is delivered with a cheeky charm in which Klein-Mekongo slips between the character of Evie and several others, producing nicely observed impressions of those around her.

But underlying all of this are some troubling themes; Evie’s need to be loved remains unfulfilled and the audience is shown the isolation she feels from her mother and friends. There is also an obsession with physical appearance, that many will recognise in their teenage selves, as she equates her body shape, intelligence and even the darkness of her skin with her loneliness.

While there’s plenty of comedy to be had from scenes such as trying to shave her pubic hair in the bathroom at the party, this merely reflects the pressures placed on young women to conform, and when later in the play she attempts a more permanent change the damaging effect on her confidence is stark. There is a clever balance in Klein-Mekongo’s performance between the still childish young girl in her Hello Kitty pants and the uncertain and fragile young woman who becomes easy prey.

The predatory “uncle” (meaning a male family friend) is slowly introduced into the story. There are panic attack interludes between scenes using flashing light as the memory returns and ending with a sigh, so by the time Jay takes advantage of his role as a father-figure, the audience is well aware of Evie’s vulnerability and its long-lasting effect on her. The first attack is powerfully staged with Klein-Mekongo using her own right hand to represent Jay’s invasion of her body becoming increasingly threatening until she has no choice but to concede.

Throughout, the multi-talented Klein-Mekongo creates her own live music track using a loop pedal to record a series of rhythmic clicks and beats that underscore the liveliness or emotion of particular scenes. Using songs to represent her feelings at any time, as well as using a modern-day narrator to reflect back on the past, gives this one hour show a strong frame, allowing Klein-Mekongo to explore a crucial moment as well as its ongoing effect.

Although it reaches some pretty dark places, Yvette is a redemptive story, ultimately sending the message to her abuser that “you are not my story and I refuse to let you be that to me.” Its current iteration only hints at the subsequent sexual confusion and anger issues which could have more of a place in the show, or maybe lead to another piece entirely. With a strong focus on self-care and empowerment, Yvette is about a “survivor not a victim” who is setting out on an interesting creative path. Keep an eye on the talented Urielle Klein-Mekongo, we’re going to be seeing a lot of her.

Runs until: 11 March 2018 | Image: Contributed