REVIEW: Suitcases, Jubilee Theatre, St Nicholas Hospital, Gosforth
Dance a perfect medium for sensitive topic
The dress rehearsal promised much and the premiere duly delivered. Michael Heatley’s Suitcases is breathtaking and perfectly packed.
In this most appropriate of venues, in front of Jon Crispin whose photographs inspired it, we were treated to a moving spectacle immaculately tailored to its subject matter.
The American spent six years documenting the suitcases and their contents, left behind by patients at a psychiatric hospital in New York State, colloquially known as the Willard.
Having been stored over many decades in an attic by hospital staff, the 420-odd suitcases came to light in 1995 when the facility was shutting down.
Forgotten for 30 years, each was a humble and touching symbol of human frailty and a reminder of a life lived for the most part in this place. Their survival is something of a miracle.
All are now held by the New York State Museum but their fame owes much to Jon’s diligence in photographing them, a labour of love that he spoke about to Cultured North East.
Thanks to Michael Heatley and his Hit the Ground Running Dance Theatre Company, the story of the Willard Suitcases has been distilled into this wonderful fusion of music, movement and words.
A song sets the scene, Dayna Dixon intoning: “As I went down to the river to pray…”, along with a period voiceover explaining the Willard philosophy, a promise of care in the knowledge that one or two people in every average classroom will at some point suffer mental illness.
At Willard, it seems, intentions were generally benign.
Here, on a stage backed by piles of suitcases, the action unfolds in unhurried fashion as dancers representing four Willard patients take up position facing us, seated with suitcases at their sides.
A nurse (played by actor Zoe Lambert) gently straightens them up, adjusting postures as if for inspection. One by one she introduces them, as in: “Patient 1456, originally from Hamburg, suffered a head injury and began drinking heavily…”
After the potted biography, each dancer moves forward to perform an achingly brilliant solo, taking time under the spotlight to draw a distinct character and convey the workings of a troubled mind.
The dancers draw on a repertoire of moves according to their respective discipline. Jonny Curry, aerialist, slowly dons brown coat and lace-up boots before setting Lawrence, Patient 1456, in motion.
He reaches out and then raises arms wide before stretching backwards, acrobatically. Dressed not in Lycra but in the garb of a working man, it’s compelling and a little disturbing.
Jessica Doran as Ethel, Patient 20925, burdened with the pain of pregnancies gone wrong, balletically describes a figure so tragic you expect tears at every turn, hers or yours. Opening her suitcase with infinite care, she withdraws poignant items which seem to comfort and torment.
To Patient 32643, dedicated artist Dmytre, Connor Gribben brings his considerable breakdance skills, involuntary jerks coalescing into an explosive physical display before, passion spent, he slinks back to his chair.
Lila Naruse gives us Irma, Patient 10456, mentally locked in the “wonderful life” she once lived as socialite and lover of music. Suddenly breaking her graceful reverie to scatter torn papers, she relaxes again at the touch of a treasured velvet dress.
During brief interludes, the patients interact, playing and dancing together before the smiles fade and they retreat once again into their private worlds.
If none of this gets to you, Dayna Dixon’s rendition of Auld Lang Syne (lyrics, incidentally, often attributed to composer William Shield, an ancestor of Michael Heatley on his father’s side) should do the trick.
After the lights dim comes a moment’s silence before the applause; a moment to breathe and reflect on the power of art to convey feeling in a way that bureaucratic or institutional language, however well intentioned, never can.
Michael dedicates this deeply thought-provoking yet enjoyable dance creation “to all the Willard patients and all that have been affected by mental illness”. It’s a fitting tribute, more than equal to the sentiment.
There are still tickets for forthcoming performances of Suitcases at The Exchange 1856, North Shields (September 25), Victoria Baths, Manchester (October 2) and Queen’s Hall, Hexham (November 6).
Details from the Hit the Ground Running website.
Support acts have been lined up for every performance. Full marks to the young dancers of Division Dance Company and singer Emily Angus who warmed the atmosphere nicely at St Nick’s.