‘Til We Meet In England was a site-specific performance in Peckham. Created in and for Safehouse, a tiny, semi-derelict Victorian house in the backstreets of Peckham, ‘Til We Meet in England is part-performance, part-installation, fusing text, movement, objects and song to create a potent, intimate experience.
The production took Elizabeth Inchbald’s rarely performed tragedy, The Massacre, as its starting point. A brilliantly successful writer of wryly observed sex-comedies, this was Inchbald’s only tragedy, using the lens of the St Bartholomew’s Day Massacres to comment on the Terror in France. Wrestling with her horrific, lurid content, Inchbald uses fragments of ‘testimony’, words she claims come from eyewitness accounts, a nascent foreshadowing of testimonial drama. Ultimately, she censored the play, advised that it was unlikely to please (the subtext of this advice being that her own radical liberal politics were the problem).
Newly recovered for a contemporary audience, the play was vibrantly re-imagined for its perspectives on cultural intolerance, refugee experience, and its long-view of England’s international role. It offers a valuable view of Britain’s long, notable and now threatened identity as a place of tolerance and humanism. Examining the play in this context shines a spotlight on a long-silenced woman’s voice, presenting England’s moderation, and a much-needed positive image of Britain’s European past and present.
Lost Text Found Space is director Rebecca McCutcheon (Dido, Queen of Carthage, Vincent River), designer Talulah Mason (Traces, London) and a talented company, in the tiny found space of Safe House are a rare opportunity to encounter this remarkable gem in an intense environment.
See images here:
Press and Audience views:
‘In Inchbald’s The Massacre, the company prove there is a play for today’ – The Times
‘Most impressive is the seamless move between installation and linear narrative’ – The Stage
‘Lost Space/ Found Text’s approach is gentle and intimate, guiding the audience through the performance and inviting them to participate in small ways. The performers’ refrain ‘Can you help me?’ is an invitation, not a command.’ – Exeunt Magazine
‘I felt part of the action at all times which was both nerve-wracking and exciting – two sensations I rarely feel in the theatre! I was with you all the way.’
‘An intimate exiting way to experience performance. Brilliant cast and space.’