Sunday afternoons for me are usually spent aimlessly engaging with whatever cheap dialogue is available on Netflix. Yet I was lucky enough to be invited by Antonym Theatre to watch their latest piece Colder Water, directed by Celine Fortenbacher-Poplawska, and 2016 Edinburgh Fringe success ‘TWIX’, directed by Cara Withers and Molly Evans.
Out of the New Cross bubble, and with a £4.65 Voddy and Cranberry, I was ready to absorb the works of Antonym Theatre’s Double Decker: ‘Colder Water’ and ‘TWIX’. Ogden’s writing makes you walk in the characters shoes; no matter if those shoes are pinchy, floppy, or relatively comfortable, I was tying the laces of empathy as I went. Since finishing my second year of studying Theatre Arts, I turn to one of my favourite quotes to best describe pieces such as Colder Water and Twix.
Laurie Ogden’s work may not focus on the lives of 19th century Russians, but it does focus on employing subtlety. Supported by lyrical monologues and passive-aggressive characters which allows her pieces to act as broken glass to present a unique glint into ordinary lives. The premier of Colder Water was essentially an extract of an awkward, yet needed conversation between four individuals dealing with an unplanned pregnancy.
Colder Water’s subtly allows the audience to uncover that there is more to the situation than the conversation currently offers. Ogden explores our society’s extremely problematic values when it comes to dealing with sexual assault; “What were you wearing?”, “How much did you drink?”, “You were asking for it”, “You’re making it up”. All while sexual predators such as Brock Turner and Andrew Picard have the justice system wrapped around their privileged fingers. There is no point denying that the justice system prioritises their voice and the future of the attacker over the victim’s.
Colder Water’s depth of field focuses on Ally (Alice Brittain), Louise (Jess Reed), and Ellie’s (Laurie Ogden) internal perspectives of female connection, layering these women with intense humanity and interest. Ogdens depth of field allows Colder Water to artistically show a ‘social template’ wherein the attacker’s dialogue and privilege is removed. This template is something our society and justice system should be employing.
In addition to Ogden’s use of subtlety, she liberates and showcases a lesbian dialogue between Ally and Ellie. Other than the series Orange is the New Black or the video game Life Is Strange, I’ve found that most theatre, art, or television I’ve engaged with is (mostly) heterosexual, or includes a gay-male character. Colder Water introduced me to a lesbian dialogue on stage. It was heart-warming to watch as the piece didn’t focus on the fight for LGBTQ+ rights, but rather the everyday lives of a couple, which I found enlightening to watch. Especially Knowing that artists such as Ogden are composing work about homosexual experience without a political drive – in regards to their rights. Again, Colder Water serves as a template for showing that we’re in the 21st century. Lesbian relationships are more than acceptable and shouldn’t be excluded from art and theatre.
Overall, I think Colder Water is pretty neat and has potential to rock the feminisms world! A massive well done to Laurie Ogden and Celine Fortenbacher-Poplawska and the cast/crew of Antonym Theatre! I give you five stars! (literally)
Peace, Love and Cacti
p.s. not all dialogue on Netflix is cheap
Words by Courtney McMahon
Images courtesy of quotefancy, Antonym Theatre, Theatre N16 and Courtney McMahon