"Sappho In Nine Fragments" by Jane Montgomery Griffiths

Directed by Jessica Ruano at the White Rabbit Theatre

Reviewed by Alain English on 19/01/2013

 

After her show-stealing performance in the title role as "La Chunga", Second Skin Theatre present a one-woman show featuring the sexual enigma that is Victoria Grove.  With soft skin covering a dancer's nimble physique, her luscious dark eyes and that voice - dark with a tender reverb that can evoke both power and vulnerability in a single word.

 

Telling the story of Sappho, the lesbian poet and her young actress lover Atthis, Grove initially appears in shadow swinging on ropes behind a white veil draped over an iron frame erected centre-stage.  It's all a playful tease, as she strips away the veils from both the frame and her characters, exposing the ambiguity inside.  Grove climbs and swings enrapturing her audience in a fiercely physical, intimate performance.

 

There is a lot of great stage craft here, and the unique setting and use of lighting enhance Grove's impact even further.

 

The show runs until the 27th.  Catch it while you can.

 

Interview With Director Jessica Ruano

 

Q: How long have you been working with Second Skin Theatre?

 

Just over one year. I was the assistant director to Andy McQuade on La Chunga (where I met Victoria Grove, who plays Sappho) and Quills, and now I'm the Creative Producer for the company.

 

Q: What interested you in a career in theatre?

 

All the madly interesting people. And watching a good piece of theatre makes my heart soar.

 

Q: What attracted you to this piece?

 

Sappho, herself. I have loved her poetry for years, even used her poetry in courtship and seduction... Getting to know her more intimately through the rehearsal process was just too tempting.

 

Q: How has the show evolved over rehearsals and performances?

 

In too many ways to mention. I'll share one lovely anecdote, though: one member of our production team is from France and one day in rehearsal Victoria was trying to imitate her accent, and then she started playing around with other accents. And suddenly I realised "Atthis (the second character in the play) is American!" The character isn't specifically written that way, but it made complete sense for her to be this out-of-place young woman from the States trying to make it on the London theatre scene.

 

It just shows that some of the most important 'moments of clarity' can occur when you're not even properly rehearsing. Just having the text in your head and being open to unusual ideas counts for a lot.

 

Q: What's your feedback from audiences been like?

 

Audiences and reviewers alike have been very enthusiastic. But I was especially touched by Victoria's father's response to the play: he said it was an amazing production and the best thing he had seen her do. That was immensely high praise.

   

Q: What are your plans after the show is over?

 

I'm off to Ottawa (my hometown) to visit family and friends, and then to New York to see the world premiere of Blood Privilege, directed by Andy McQuade, that will be subsequently produced in London in March. I'm also making plans to remount Sappho. Details coming soon!