Review: The Washing Line, Chickenshed

Forget everything you think you know about Chickenshed. Seen the panto? Yeh, it was great. Seen their work with school kids? Fantastic. But this spring they bring to the stage an outstanding, unique account of the Jonestown massacre that resonates hugely with the current global political position, where Trump is world leader. This is The Washing Line.

There is (she says flippantly) a cast of a mere 200 young people and adults – many with disabilities – in this incredible production, guided by exceptional Direction and Choreography from Michael Bossisse & Bethany Hamlin. It gives an age guidance of 14+ for a very good reason: using historical references and research, the show rigorously explores the events surrounding the deaths of over 900 people at Jonestown, Guyana, largely from self-administered cyanide poisoning, under the guidance of their spiritual leader, Jim Jones. The performance begins and ends with murdered bodies strewn across the floor in a chilling representation of what occurred.

The members of The People’s Temple, as the cult was known, shared a desire to reject the exploitation, prejudice and institutionalised poverty they saw growing in the US of the time. It’s easy, therefore, for the collaborative ensemble of young people here to powerfully convey the sense of community and egalitarianism that was felt, because these principles are found at the very root of Chickenshed’s practices. In another time and place, those tragically betrayed people could be any of these youngsters. 

Combining languages of dance, drama and music, an energetic, believable world is evoked. Epic crowd scenes flourish organically, but then fragment to allow analysis of events in isolation, giving factual substance through staged interviews, whilst presenting multi-media images and historical information. The pacing throughout is excellent and the traverse staging highly effective, keeping the action fluid and achingly within touching distance. Superb choreography is at times elegantly balletic, at others visceral and primitive, conjuring Hofesh Shechter. And it’s always impressive. 

Flashback techniques place temporal uncertainty in the narrative, creating a space where it’s easy to perceive how such deceit, manipulation and ultimately devastation could be achieved by one individual. Jonny Morton as Jim Jones, dressed in beige slacks and aviator glasses, oozes confidence and duplicity and the comparisons are clear: there’s a disturbingly Trump-esque feel. One moment where he enjoys a little Trump ‘dad-dance’ within the crowd of celebratory young people is truly chilling, snapping us into the present day.

There are outstanding visual highlights: Jones iconically standing dominant over his congregation, or whirling around at perilous speed on a wheeled platform; the huge, homogenous crowds of dancers pulsing with life before a single person rises high above them, reminding us of the individuality of each of the victims; bodies strewn in colourful piles across the floor, like washing; and a sea of empty cups that ends the story with cruel absence. I defy you not to shed a tear at some point during this show.

The music too is superb, blending 1960s tracks, classical pieces and hugely uplifting gospel singing. The soloists are amazing, but the ensemble too are magnificent, with intricate harmonies filling the room, whilst energetic movement and dance raise the roof. They fill the place with life, starkly accentuating what is to be so tragically lost. 

Just a few individuals with the self-assurance to make decisions for themselves managed to escape Jonestown. Clearly, we need similar strength to stop the exploitation of people’s vulnerabilities happening in the world today – to recognise patterns repeating before disasters such as that one can occur. This deeply moving, breathtakingly potent production is executed by people with a unique understand of that message and powerfully affirms it. Don’t miss it.

Direction and choreography by: Michael Bossisse & Bethany Hamlin
Musical Direction by: Dave Carey
Core creative team: Andrew Caddies, Dave Carey, Fiona Carey, Ashley Driver, Bethany Hamlin, Paul Morrall, Jonny Morton

The Washing Line has a guidance age of 14+ and plays at Chickenshed until Saturday 5th April.