Review: 12 Last Songs, Battersea Arts Centre

12 Last Songs is a moving and respectful tribute to the daily work that ordinary Londoners do. In a durational performance that lasts from midday to midnight, real workers from London perform paid shifts on stage. Described as “part live exhibition, part epic performance,” it is intensely absorbing and creates a genuine connection between performer and observer. 

It’s relaxed, so spectators can come and go as they please. A black gauze curtain hung ceiling to floor separates the performance and tiered seating areas. Those waiting to perform sit on either side of the stage waiting for their turn. A BSL interpreter is working throughout, and cameras move between shots of those in the performance space, at times focusing on the work being undertaken. It is a hive of continuous activity – all watched and recorded.

The “performers” are equally spaced throughout their “stage”. Most work from a table. When I was there, we watched a portrait painter with a live model, a butcher, a hairdresser, and a decorator and listened to an embalmer. A compere and interviewer moves between stations to ask questions that appear on a screen at the back of the space, as well as gently enquiring as to the nature of the work that is being completed and the person doing the work.

What is immediately striking is the consideration of art. What is art? Certainly, the butcher who effortlessly and carefully debones a series of chickens (each one taking no more than 45 seconds) is an artist, given the skill he exhibits as the sound of his scissors rhythmically cuts across other sounds in the studio. When interviewed, he describes the intricate pattern of tattoos that adorn his upper arm and biceps, accompanied by poetic lyrics that have meaning to him.

The hairdresser and florist, too, are artists in their own right. As is a decorator who effortlessly hangs wallpaper with millimetre precision.  

The conversations that occur between the interviewer and worker are fascinating as they are gently probed about the work they do, but also how they feel about that work. What are their motivations? Why have they chosen to do this? Each response is genuine, unexpected and interesting. The embalmer is particularly spellbinding as his interview takes a slightly ethereal turn when he is asked about his feelings about life and creation.

These are “ordinary” people, but of course, they are more than that. They are carrying out essential work throughout our borough and are engaging and genuine. They contribute to society, and the audience is fixated on the conversations that take place. Their lives and conversations are in symbiosis with our own.

And then in comes Beryl. An older Caribbean lady, she cooks for very large events and is about to turn the chicken recently deboned by the butcher into a tasty Caribbean curry for a large wake post-funeral. She pauses midway between off-stage seat to table and calls out for some support from the audience: “Come on”, she cries, “I’m nervous … I don’t normally do things like this!” and the audience responds as one with genuine fondness and laughter: “We’re here”, we mean, “We’re all one community”. 

This was such an unexpected pleasure: gently absorbing, kind, respectful and real. I would have loved to have stayed for the duration, but sadly, my own responsibilities intervened.

Concept and Direction: Richard Gregory
Creatives: Quarantine
Designer: Simon Banham
Lighting Design: Mike Brookes
Associate Lighting Designer: Kathrine Sandy
Collaborating Artist & Assistant Director: Sarah Hunter
Video Artist: Lowri Evan
Questions Text: Sarah Hunter, Leentje Van de Cruys, and Quarantine
Dramaturgy: Renny O’Shea, Sarah Hunter, and Leentje Van de Cruy
Company Stage Manager: Chi Emechet
Production Manager: Matt Webste
Producer for Quarantine: Kevin Jamieson
Co-produced by Transform.
Co-commissioned by Attenborough Centre for the Creative Arts, Cambridge Junction, Stobbs New Ideas Fund & HOME.

12 Last Songs has completed its performance at Battersea Arts Centre