REVIEW | Housemates, Sherman Theatre
Lindsay Foster, Peter Mooney and Gareth John in Housemates. Photo by Mark Douet. Written by Jennie
*Disclaimer: Gifted tickets in return for an honest review
This review contains reference to outdated terms for disabled people
Housemates is a brand-new show written by co-created by the Sherman Theatre and inclusive theatre company Hijinx. A true story, it tells of a student house that really did change the world – more than you might ever think.
Housemates is centred around music, which is apparent from the moment we stepped into the theatre, with members of the cast playing a brilliant 70s soundtrack. Their musical performances were impressive and also encouraged the audience to join in, make noise, and move as they wished. This was an audience of mainly disabled people, considering the nature of the show, and this created a safe space for the audience to express themselves as they wished whilst also setting the scene for a 70s show.
The show takes us to Ely Hospital, an ‘institution for the sub-normal’ as it’s called, and the less-than-acceptable conditions there. What’s really striking about this is, that even throughout the scenes in Ely Hospital, the disabled characters are portrayed positively. For most in the audience, I’d think this is some of the most positive representations of disabled people that we’ve seen – especially considering the time Housemates is set in. Although the show doesn’t stray from addressing the ideas of the time, those opinions are always challenged and immediately put down as wrong, giving the production a modern edge. One impressive element of Housemates is that it manages to strike the balance between its comedic moments and the sensitive nature of the show. Although some of the tender moments felt cut short, interrupted by a musical interlude, other moments between Jim Mansell and Alan Duncan felt well-paced and were beautiful to witness.
Peter Mooney and Gareth John gave compelling performances as Jim and Alan respectively, and seemed to bounce off each other’ s energy the entire show. Lindsay Foster as Heather brings an unbreakable positive energy to the stage, and she is particularly engaging in her scenes with John, portrayed by Matthew Mullins. Richard Newnham as Dr Cooper is despicable, and therefore impressively performed, with Eveangeleis Tudball sensitively portraying Julie. Musical performances here are also remarkable, with Caitlin Lavagna on drums and vocals, James Ifan on keys and vocals and Natasha Cottriall on guitar and vocals – all musical performers were strong and brought to life a great soundtrack for the show.
Set in the 70s, the design of Housemates certainly reflects this. A beige, orangey-brown colour scape dominates, alongside ‘hippie’ costume designs, without feeling like a pastiche of the 70s. Particularly towards the end of the show, the costume really design really stands out. Lighting design is something that particularly stood out. Housemates is in a smaller space, but the lighting transforms the stage from the cold, harshness of the hospital to the warmness of other locations, such as the park.
Overall, Housemates is an incredibly important show that I urge anyone in the South Wales area to try and catch. With all the current dialogue happening around disabled people, Housemates is incredibly affirming, joyous and surprisingly educational.
★ ★ ★ ★ ★
