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Review: Belongings, Polka Theatre

There are more than 92,000 UK children in care for a multitude of reasons: parents unable to look after them, unsafe homes - the list is endless. Many will end up temporarily displaced into foster homes. Belongings is a show that offers voice and visibility for young people with experience of the care system, created as a form of dramatherapy for, and in consultation with, them. Their authentic needs and emotions are movingly expressed in this inspiring, engaging production.  Leila (Jesse Bateson) is just 12, and lives in a foster home with 8 year old BT (Harris Cain). Without blood family…

Summary

Rating

Excellent

So much more than theatre, Belongings is an outlet for therapy, a joyful celebration of childhood play, an articulation of resilience and a message that children in care can find their place in the world.

There are more than 92,000 UK children in care for a multitude of reasons: parents unable to look after them, unsafe homes – the list is endless. Many will end up temporarily displaced into foster homes. Belongings is a show that offers voice and visibility for young people with experience of the care system, created as a form of dramatherapy for, and in consultation with, them. Their authentic needs and emotions are movingly expressed in this inspiring, engaging production. 

Leila (Jesse Bateson) is just 12, and lives in a foster home with 8 year old BT (Harris Cain). Without blood family around them they are like siblings. One day an isolated new face arrives. Cleo (Carla Garratt) is alone, confused and unsure what her future holds. Together they face their fears and discuss their issues, creating mutual bonds and finding belonging in each other and in themselves. 

This beautifully evocative production is skilfully and sensitively directed by Nathan Curry, with the children’s stories expressed through vivid and varied means. Designer Becky-Dee Trevenen immediately conjures a sense of the temporary, dotting the space with bags of clothing, packed either ready to go or yet to be unpacked. Like the children, they’re in limbo or transit. Objects and belongings are of enormous importance throughout, as tangible reminders of the people and relationships that are absent. Sarah Readman’s considered lighting complements surprising, innovative puppetry from ordinary objects, and both are highly effective in creating nightmare scenarios, or suggesting the absence of family, which is palpably haunting. 

The confident cast tackle extreme themes assuredly; from harsh reality, to playfulness, to dreams. Cain as BT is particularly excellent, with charisma and physical movement that brings the stage to life. His character demonstrates how qualities of generosity and care can be essential in healing: listening a clear part of the process of recognition. Leila is played with controlled strength by Bateson, her story disclosing adaptability; a willingness to accept when you are wrong and change. Garratt as Cleo hits the highs and lows of the part with utter conviction, and it is a joy when Cleo finally claims her place. 

Fabulous movement work reflects themes of instability and turbulent emotion, as the set is whirled around, climbed and balanced on. The three actors perform as children with delightful authenticity, and the production brilliantly highlights the importance of play as a positive force: a means of self‑expression, for learning, companionship, challenge and teamwork. There is some question as to why there’s a parachute in Cleo’s bag in the first place, but it’s nonetheless a wonderful metaphor for a life-saving device that binds the children: with it they play and also create a space to include others. 

Tiny details in the eloquent script reveal deep, unspoken stories of lives led differently to what we may perceive as the norm. Cleo’s surprise at having her own toothbrush stings with a sense of neglect. Her disclosure that “someone with no name” brought her here hints of a system in which adults can be disrespectful and uncaring. We wonder who is cared for and who is caring as the compassionate children worry about their families. It’s very moving and fluidly crafted. Through their need to belong, the trio create their own support system, learning the value in others but, importantly, also of themselves. 

This is not just a play: in the form of its creation it’s a therapy session, reaching out from an often unrepresented community and giving space for young people to explore their stories. It articulates them in diverse ways, then presents them confidently as a show – a finished, concrete thing that belongs to them, validates them, and which illustrates their belonging. 


Directed by: Nathan Curry
Dramaturg by: Shireen Mula
Design by: Becky-Dee Trevenen
Composed and Sound Design by: Guy Connelly
Lighting Design by: Sarah Readman
Produced by: Tangled Feet and Rowan Tree Dramatherapy

Belongings has completed its run at Polka Theatre. It will next perform at Half Moon Theatre (9 & 10 March), bookings here, and then Brixton House (21 – 25 March), bookings here.

About Mary Pollard

By her own admission Mary goes to the theatre far too much, and will watch just about anything. Her favourite musical is Matilda, which she has seen 16 times, but she’s also an Anthony Neilson and Shakespeare fan - go figure. She has a long history with Richmond Theatre, but is currently helping at Shakespeare's Globe as a steward and in the archive. She's also having fun being ET's specialist in children's theatre and puppetry, and being a Super Assessor for the Offies! Mary now insists on being called The Master having used the Covid pandemic to achieve an award winning MA in London's Theatre and Performance.