Plymouth Theatre Review

Easy to Follow: 4

Family Friendly: 3

Must see: 5

Title: ‘ The Bakery is closed again’

Venue: Barbican Theatre

Date:c 01 June 2024

Rebels young theatre company has struck a chord with their latest work ‘The bakery is closed again’ staged at the Barbican Theatre. This dynamic show is an exuberant celebration of physical ensemble theatre that tackles societal issues, blending seamless physicality with comedy to highlight relevant societal concerns with a fresh and inspiring perspective. 

The plays narrative is rich with kinetic energy, utilising the performers bodies as the instrument of storytelling. The piece lives and breaths as a true ensemble performance, with each actor embodying the show with their own finesse and style, and each performer being an integral part of the action and dialogue. The movement and physicality employed in this show is a standout highlight, integrating acrobatics, mime and physical theatre to convey emotion (and the plot) in a way that words alone could not achieve. Each performers physicality is precise and expressive in nature, capturing the spectators attention and making every moment on stage pulse with energy and life. It is hard, in a show of such dedicated, passionate performances, to single out any one actor as they really did perform as a cohesive machine, each being integral to the group dynamic. They all however, displayed individual qualities and skill sets that are worth noting. 

Molly Holman’s character acting was some of the finest work I have seen, she not only portrayed multiple characters with ease but embodied these characters with authenticity and a level of believability that blew me away with every portrayal. From her hilarious depiction of the Librarian, to her whimsical display as the mermaid, her performances brought hilarity and depth to each character in a show of pure craftsmanship, marking her as a powerhouse of characterisation and character portrayal. John Marshall’s performance was marked by his deep connection to the physicality of the piece. His dedication to telling the stories through movement was as compelling as it was mesmerising and his adeptness at using his body as an instrument for storytelling shone throughout the production in a disciplined display of physicality and theatrical representation. Arbennik Webster also displayed a level skill way beyond his years, excelling in the storytelling and dialogue, his vocality was interesting to listen to and I often felt his performance added pace and nuance to the piece. I felt the connection he felt to some of the issues being discussed and his performance was rich with unity to the source material and themes. I particularly enjoyed the ‘storytelling’ sections, which stood out for their fun and whimsical take on modern issues under the guise of a children’s story. Last, but by no means least, Jasmine Causley also gave a strong performance throughout, excelling in the movement and physicality of the piece as well as the vocality of the spoken word. The ease with which she moves is evident in her physicality and her subtle and deep connection to the characters she portrayed added nuance to the heavier themes and was played with a subtle authenticity that left the viewer contemplative and enthralled in her performance.

Comedy is interwoven throughout providing a buoyant counterpoint to the deeper and often more serious issues discussed. The humour is sharp and clever, often arising from the physicality of the piece as well a interactions between the characters we meet along the way. Particular comedy highlights for me, were the ‘Landlord’ scene and the ‘Devon Bear.’ These scenes were a perfect blend of comedy and serious and there were notable lines that stuck with me after the performance ended for their profound truths and clever, sharp wit. “Landlord’s are still dickheads, but I guess there is some understanding there.”

The play has an episodical feel to it, with several dynamics and ways of storytelling being repeated throughout, not only does this add to the sense of despair (that everything is following the same trajectory) it also brings structure to the piece, allowing the audience to recognise the performance style and gain an inkling of what this section will be like, therefore affording us the opportunity to revel in the story and focus solely on the issues being raised. 

A good example of this, is the ‘modern fairytale’ sections of the piece. These sections stick in my mind, not just for the societal issues being raised, but the great storytelling, physicality and characters introduced. While comical in style and nature, this did not detract from the material and the absurd, childlike and often magical nature of these scenes instead highlighted the issues in a stark juxtaposition between fun presentation and the heavier themes being discussed. This adds a layer of accessibility to the performance, ensuring that the weighty topics are delivered in an interesting, palatable and engaging manner while not dictating or becoming too much like a lecture to the spectator. This can be a hard line to tow in this style of theatre, and this cast found the sweet spot here every time. 

At its core, the play delves into societal issues with a poignant touch. The often verbatim narrative addresses themes such as community and displacement, economic and political inequality and the erosion of community spaces and businesses. Through the lens of a local and global fixture the play both reflects and poses questions on local and broader concerns, promoting the audience to consider the impact of these issues on their own lives and question how we can bring about social change to rectify the issues we face in society today. Verbatim theatre is a powerful tool that was expertly woven into the speech and dialogue, adding nuance and sentiment to the piece, and bringing realism to the authenticity to the characters we meet. This enhanced the overall impact of the work and offered diverse perspectives from lived experience. 

The ‘Armada Way Tree’s section’ was particularly impactful, bringing a current issue to a head in a creative and poignant mix of verbatim speech and movement. For me, this scene served as a reminder that even though the hype and anger around these concerns may have eventually died down, its still something that has yet to be properly addressed or answered for, renewing my sense of frustration and need for action against this issue all over again. What makes this production truly remarkable is it’s ability to instil a sense of power and hope while discussing the topics that no doubt close to many hearts. The young cast exudes a palpable passion for the topics they are tackling and their commitment to their craft imbues the performance with an infectious optimism despite the heavier themes. This left me with a sense that they are not only highlighting these issues but that change is possible, driven by the energy, enthusiasm and creativity of this generation. 

The set design was stark and minimalistic (which I didn’t mind) as the actors themselves needed nothing but their costumes and a cardboard box to make the magic happen. As someone mentioned in the Q&A after, it’s amazing what you can create with just a couple of cardboard boxes and a whole lot of passion & creativity. The direction in this play is also a masterful display of creativity. Melody Ziegler (Director) and Phoebe Ellen (Movement Director) clearly understand the tragedy and emotion associated with the events the play tackles which is clear from their poignant, evocative and thought provoking direction that underscores the themes throughout making them all that more impactful and telling of the society that we are currently living in.

‘The bakery is closed again’ is a testament to the power of theatre as a medium for social commentary and change, and Rebels young Theatre company has crafted a piece that is both entertaining and stimulating, leaving the audience with a renewed belief in the potential for a better world. You leave the theatre not just with a sense of theatrical fulfilment but with a sense that we as a society need to act. Even if you were unaware of the issues raised, had not pondered the questions posed and had not been outraged by a single thing in this play beforehand, I challenge you to the leave the theatre in the same state. Personally, I left with a overwhelming sense of hope and resilience, as well as feeling that these talented young people are more than just their craft, they are harbingers of a brighter future and a better tomorrow.