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An interesting story about Ukrainian migrants’ struggles, set amidst the backdrop of the UK meat processing industry.Summary
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Blood on Your Hands by Grace Joy Howarth begins with a striking sound that sets the tone for this theatrical experience, creating anticipation and preparing us for the unfolding narrative. The visceral opening employs sound, physical theatre, projections, and light as it introduces us to a diverse cast of characters.
Two meat packing processors – Kostyantyn (Shannon Smith), a Ukrainian migrant in the UK prospecting for a better life for his family, and Dan (Phillip John Jones), a cheerful local trying to make ends meet – form an unlikely friendship over sandwiches and moisturiser. This provides a source of light-heartedness and hope amidst a world outside the factory that is unravelling due to the impending RussoUkrainian War and environmental protests.
We meet Nina (Kateryna Hryhorenko),Kostyantyn’s heavily pregnant wife and mother of two, awaiting a signal to seek refuge in the UK, and Dan’s ex-girlfriend Eden (Liv Jekyll), who is advocating for animal rights. Meanwhile, The Man (Jordan El-Balawi) oversees the factory from a position of privilege, seemingly detached from the heartbreak, war, and struggle in the world.
The poor conditions in which migrants sometimes have to live in the UK, under the false promise of a better life, contrast with the bombing endured by Ukrainians at Russian hands. The play delves into significant themes such as loss, war, politics, and climate change. However, due to the nature of the production, these themes don’t receive sufficient stage time for full development.
While there is promise of an intriguing world, certain technical and directorial aspects hinder the audience’s complete immersion. Transitions feel messy, flashbacks lack clarity, and overpowering sounds diminish the clarity of the actors’ voices, making it challenging to follow the dialogue. Use of projections, while potentially innovative, feels unnecessary and inconsequential to the overall story. The complexity of the script might find better expression in film or TV, where overlapping images and storylines can be more seamlessly handled. For those not seated directly in front of the stage, the one-dimensional set design by Ahmet Buyukcinar limits the experience and causes some powerful moments to be missed.
An abundance of characters sometimes renders their individual presence unimportant to the overall narrative, and prevents some of the actors from fully realising their performances. The heart of the play lies in the story of Nina and Kostyantyn, with subplots falling short in cohesion. The production raises numerous open-ended questions without delivering a satisfying emotional payoff.
Despite these challenges, the standout performances and chemistry between Smith and Jones, along with the impressive lighting design by Abraham Walkling Lea, emerge as highlights of the play. These elements significantly contribute to the overall experience, offering moments of connection and engagement for the audience.
With refinement in technical execution and a more focused exploration of key themes, Blood on Your Hands has the potential to elevate its impact and deliver a more cohesive theatrical experience.
Written by: Grace Joy Howarth
Directed by: Anastacia Bunce
Produced by: Patch Plays
Blood on Your Hands plays at Southwark Playhouse until 3 February 2024.
Further information and bookings can be found here.
