Photography courtesy of Full Frontal Theatre
Language is the most powerful tool. This was the most poignant sentiment that ran through Full Frontal Theatre’s Rodney Black: Who Cares? Its Working! At the Lion and Unicorn Theatre. It was a bleak evening; spitting with thin rain and a bitterness holding in the air. I’m sure that I was not the only individual filing into the auditorium relieved to feel some warmth and comfort. Rodney Black blasted that warmth out of me very quickly, with an uncomfortable and disturbing, yet vital, commentary on the debates of free speech within the current ‘epidemic of violence against women’.
Critically acclaimed playwright Sadie Pearson is truly the champion of the three-actor-show, as Full Frontal’s To Watch A Man Eat demonstrated. Rodney Black (Ben Willows) the controversial, loud-mouthed and crude comedian desperately climbs to the top with his comedy that toes the line. And, supporting him (almost) every step of the way, his Manager (Bertie Taylor-Smith) roars for even more, as, in his words, it is ‘the best time in history for the fame hungry’. Cutting through the idolisation of the ‘good old days of comedy’, Merida Beasley’s Woman is a sobering reminder of how lines are crossed within the comedy scene, with a gutwrenching parallel to female violence.
It is impossible to watch Rodney Black and not be reminded of the current discourse within British comedy and the backlash against the ‘woke agenda’. Ricky Gervais’ viral biting joke of recent - ‘Doctor, doctor! I think I’m a pair of curtains! Well, you are one then…’ - is just one demonstration of how comedians seem to long for ‘the proper way’ of humour; a time before online cancel culture and taking accountability. Yet, do we as a society have a moral expectation to keep some opinions under lock and key? That phrase - ‘the proper way’ - has even darker meaning during the climax of Full Frontal’s play, as the true impact of Rodney’s misogynistic humor is revealed.
Words are often used so flippantly without a single thought of consequence, and Rodney Black is a stellar example of how we should not follow the ideals of others simply because they are at the top. And within the cultural climate of such a disturbing epidemic of violence against women, Beasley’s role became so raw and visceral that I was moved to tears. Hen Ryan’s direction was impeccable, with scenes at a perfect balance between unbroken focus on the stage, and breaking the fourth wall. Sometimes knowing where we fit into wider social influence as an audience and exactly who has come before us is a mighty thing. As Woman says herself, ‘its important to make it real’.
It feels essential to state that this is a heavy piece of theatre, with themes of violence against women, misogyny, self-harm and sexual assault. And, at moments, it is truly terrifying. However this is a testament to the fantastic writing. These topics are well-handled and well-implemented - an insight into exactly why we need to consider the debate of free speech. Because yes; it is a free world, and it should be one full of humour, too. But shouldn’t it also be one where others’ words don’t put us in danger?
Rodney Black: Who Cares? It’s working! Continues its run at the Lion and Unicorn Theatre in Kentish Town through the rest of this week (17th - 21st December), from 7:30pm until 8:30pm each night. Tickets are available here.
