Sappho on the streets

For the past several days, I have been doing this:

Jessica 2

(Photo credit: David Robertson)

Right in the middle of the Royal Mile, I spell out the word ‘Sappho’ or the word ‘Lesbian’ with the rope we use in the show. And then I park myself behind the word and hold up flyers for the show. When people pass by, many of them reading the word, I smile at them gleefully. If they smile back, I offer them a flyer.

It is most frequently children who read aloud the word, or ask their parents to read it aloud for them. If someone says the word quite loudly, I call back ‘Yay!’ and pump my fist in the air. Sometimes people sit with me and we have a conversation: I tell them that the show is about Sappho, the first love poet, who lived in Ancient Greece on the island of Lesbos (hence Lesbian with a capital ‘L’, as, strictly speaking, Sappho was probably bisexual – not that they ever bothered with those labels). I tell them the show is an ‘acrobatic love story’ and share photos with them.

One man told me he had been to Lesbos and told me I had to visit. Two women holding hands came up to me and told me I had made their day, which, in turn, made my day. Tourists often take photos of me without asking, but I don’t mind; I volunteer to pose for them and encourage them to post their photos on Facebook.

I’m choosing this approach to promoting the show, because I’m finding that people are quickly becoming disillusioned by the Fringe artists who push flyers in their faces, quoting star ratings and reviews, and being generally loud and overwhelming. I’m attempting the quieter method because, this way, people come to me.

Other Fringe artists ask me why I bothered to promote the show so far in advance, since it opens a week into the festival and only plays for three days. I reply that, partly, we haven’t received much media coverage for this run of the show (nobody really wants to cover/review a show that is only playing in Edinburgh for three days, when most shows are playing for a month), so I’m doing what I can to get audiences.

But it’s more than that: for me, this rope thing has become a performance in itself. I engage with people directly: I make eye contact, I smile, I challenge them in my own subtle way. When they stand in front of the word ‘Lesbian’ and raise their eyebrows, I say ‘How’s my handwriting?’ as though my calligraphy skills would be at the forefront of their thoughts.

Even though I don’t identify as a ‘lesbian’ (I’m a ‘date whoever I want’ ‘who needs labels’ kinda girl), I happily play the role for the sake of publicity – especially because I don’t look like a stereotypical lesbian, so that in itself may challenge people’s expectations and make them question their assumptions about queer people. ‘Is she actually gay…?’ they might wonder. Does it matter?

Whether or not these passer-bys decide to see the show, I like to think I’m getting the words ‘Sappho’ and ‘Lesbian’ into their heads, normalizing the words, letting them stand on their own without making any real statement about them. They’re just there. There they are. They exist, and they become part of our vocabulary, if only for a moment.

I wouldn’t be able to do this in Russia. I wouldn’t be able to do this in most countries in the world. But here, I feel safe. I don’t feel threatened or ostracized or uncomfortable. I haven’t experienced even one dirty look about my choice of words. People sometimes laugh or roll their eyes at me, but I just smile back, kindly yet defiantly. And I wouldn’t have this privilege everywhere.

I am very lucky. We are all very lucky.

Sappho…in 9 fragments plays Thursday, August 8th, Friday, August 9th, and Saturday, August 10th at theSpace Venue 45 on Jeffrey Street. For more information and advance tickets: https://www.edfringe.com/whats-on/theatre/sappho-in-9-fragments

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REVIEW & ANALYSIS: Isis Sadek

Sappho rehearsalIsis Sadek studied Spanish and Latin American Cultural Studies at the University of Ottawa and Duke University in North Carolina. She is now an Assistant Professor at the University of South Carolina. She attended Sappho…in 9 fragments twice when it played in Ottawa, June 2013.

How to write about Jessica Ruano’s mise-en-scène and adaptation of Jane Montgomery Griffiths’ Sappho …in 9 fragments? How to write about it when what still echoes in my head is, even more than the stories it tells and weaves together, the interaction between the multiple elements that convey these plots, all brilliantly put into play by Ruano’s direction, Victoria Grove’s stirring and nuanced performance of all characters and Ana Inés Jabares Pita’s set design?

The play could be summarized as the intertwining of two stories: that of Sappho the Greek poetess who speaks to us from the prison-house of historical oblivion, lamenting the relentless erasure of her voice by a host of “clever, clever men” who appropriated her persona in their art and literature only to silence her voice, and that of a present-day Atthis, a fledgling actress named after Sappho’s lover, who falls deeply in love with an experienced actress aptly named … Sappho.  
If this synopsis evokes the play’s revisionist thrust, it hardly scratches the surface of how this interpretation of the play rivets, entertains and challenges its audience throughout (and of why, the day after seeing it for the second time, its fragments are what still haunt me). Perhaps thinking in fragments can yield some critical insights. 
 
“How do you tell a story when there are so many gaps?”
The play begins with this question, thus foregoing the temptation of presenting the audience with a unified narrative (a whole) to illuminate the elusive Sappho’s life and work. Instead, the script is based on the conceit that combines two perspectives: the voice of the Greek poetess to whom His-tory has been cruel alternates with the voice of the present-day Atthis, who endured cruelty at the hands of her sapphic lover. Victoria Grove’s talents and the immense skill with which she harnesses them make this plurality of perspectives dramatically convincing and effective. Grove first embodies Sappho with such an expressive balance between assertiveness and vulnerability, as she both taunts her detractors and enlists our sympathies, using a tone so determined and a voice so deeply husky and rich that, as a friend quips, it makes Lauren Bacall sound like Minnie Mouse.
Our surprise couldn’t be greater, when, adopting a more North American accent and a softer voice, she performs the vulnerable Atthis, thoroughly seduced, full of longing and self-doubt. This device hinges on the actress’ talents and it is a testament to her acting that the facial expressions, bodily gestures and attitudes that express Atthis’ fragility end up highlighting the historical Sappho’s vulnerability. Conversely, our own critical understanding of Sappho is enhanced by our closeness to the enamored Atthis, who delivers some of the more humorous parts of an intensely stimulating script. The use of distinct characters to tell parallel stories generates both closeness and distance, as Grove’s Sappho attracts and stirs us, while her Atthis’ fragility and emotional transparency distance us from the poetess. 
 
Kinesis and the prison house of His-tory
The script’s fine use of language and its careful selection of poetic images prove to be tremendously evocative in re-creating remembered moments and places. Repeated in each plot, these poetic images create parallels and provide us with anchors. Yet if this use of language is in good part responsible for our involvement with the characters, the choreography and the set design stimulate our attention in different directions, challenging us to not rely solely on spoken language to extract the play’s richness of meanings, and grasp the characters’ complexity. Consisting of metallic bars bound together to form of the edges of the cube that, draped with white sheets at first, sustain the ropes from which Sappho hangs, jumps, twists, perches and cradles herself, and swings sometimes dreamily, sometimes furiously, the set design shapes Sappho and Atthis’ movement, also positioning them in ways that define their relation with their respective tormentor, whether cruel His-tory in the case of Sappho or Sappho herself for Atthis.  
Sappho rehearsal 2
In this sense, the set design and the choreography work together to create multiple possible points of flight from the verbal anchoring of meaning. The combination of light, shadows and reflections, as well as the swinging and balancing and perching express more intuitively than her words Sappho’s fragmentary, and precarious positioning *and* her power over Atthis, intertwining the public and the private spheres. The shadows and reflections of Grove’s characters and their constant movement also highlight the shifting, slippery nature of the play’s very enterprise at reconstructing this mis-recognized figure. While from each seat, one can witness a different visual spectacle produced by the interplay between light and shadow, Grove’s constant movement becomes equally if not even more expressive than the words she utters, as is the case with her fast-paced repeated flailing between ropes near the end of the play when, following their separation, Sappho confesses her love for Atthis expressing through movement how this love had imprisoned her. 
This synergy between the set design and the choreography constantly probes the limits of verbal language. For example, when Sappho accounts for her historical erasure in a memorable scene in which the sentences describing how her poetry and writing were burned and her voice extinguished are punctuated and linked with successive “POOF”s as the lights turn off and then on again. Together, these elements supplement and, in some cases, deepen the gaps that language and His-tory won’t probe or allow, as if refusing to “never prod a pebble on the beach”, to use an injunction that Sappho repeats throughout the play. 
  
Sappho rehearsal 3You’ll sink without a trace 
While during the first few minutes of the play, the script establishes as themes the gaps, fragments and holes that plague any attempt at storytelling, its use of the elements of theatrical form is cohesive. The synergy between the use of kinesis and the verbal/sonic and visual dimensions creates an entirely enveloping and involving experience, that stimulates different modes of perception separately, to then incite them to function in unison as we grow accustomed to this mode of perception or, even better, upon a second viewing of the play. Even more than what the characters will say next, we wonder where they will be next, how they will move and what this movement and positioning will express. Ruano and Grove’s collaboration brings to theater the intense and meticulously planned sensorial stimulation that this medium should provide at its very best. This is no small feat considering not only the quality of the script but also Sappho’s damning repetition that “you’ll sink without a trace”, once quoting her His-torians and then upon breaking off her relationship with Atthis.
Along with Grove’s twists, intonations, expressions and shadows, the brilliance of this play’s use of fragments to compose this story and its multiple sensory effects will stay with this reviewer for a long time to come. 

REVIEW: Capital Critics Circle

Review by Alvina Ruprecht

A poetic transgression produced by multiple voices, gives new meaning to Sappho’s writings in today’s world. This performance within a performance, spoken by the silken and sensual voice(s) of Victoria Grove, incarnates two [lovers], whose poetic expressions of desire and beauty produce a portrait of the writer, so misunderstood over the centuries. Through these voices who relate their own passionate encounters with a blinding object of desire, we move between Ancient Greece and the modern world, to the point where space, time, voices and the original texts blend and Sappho the legend emerges as an eternal force of enormous power.

Some of the language is magnificent. The staging is striking, even hypnotic as the poet/goddess first appears as a fluttering shadow, murmuring her incantations in Greek, seemingly a return to the platonic vision of reality as it is reflected on the wall of that cave. Plato is immediately transgressed as Sappho removes the curtains and reveals her physical presence to all, thus imposing her own revised image of reality, which is what we then see as the actress twists herself around the lengths of twine, as she moves between those imaginary spaces in time. Greatly enhanced by the set, by the lighting and by the sound design that brings us back to the origins of time, the sensual voice of this superb actress, becomes a presence that goes far beyond the text.

ARTICLE: uOttawa Gazette

Fringe Festival opens the stage for many uOttawa artists this summer

Posted on Wednesday May 29th, 2013 by , under: AlumniArticleEventsFaculty of ArtsProfessors.

Actor Victoria Grove

Victoria Grove performing in Sappho…in 9 fragments. Photo: Robert Piwko

From directing to performing in plays, University of Ottawa students, staff, professors and alumni are involved in all facets of Ottawa’s Fringe Festival. The Fringe’s impartial selection process makes it an ideal place for experimental theatre…and whether the play succeeds is up to the audience. Among the many people involved in the Festival this year are alumni Jessica Ruano and Nancy Kenny, as well as Department of Theatre professor Kevin Orr, whose productions promise to give audiences a unique experience.

For London-based director Jessica Ruano, theatre is about creating an emotional impact through visual moments on stage. While shopping at a London bookstore, she discovered the play Sappho…in 9 fragments. Based on fragments of writings left behind by Greek poet Sappho, the play explores Sappho being erased from history as well as love between women. When actor Victoria Grove who plays Sappho suggested suspending herself on stage, Ruano, along with Spanish designer Ana Pita, set out to make that happen. “We looked at pictures of ropes, and Ana thought of spiders and came up with all this imagery,” says Ruano. The end result is a scaffolding structure and suspended ropes that serve as Sappho’s lair.

Writers and performers Emily Pearlman and Brad Long

Brad Long and Emily Pearlman, writers and performers of We Glow. Photo: Kevin Orr

Through his company, Theatre 4.669, Kevin Orr showcases original creations from the Ottawa region. “I hope to continue to develop Ottawa as this incredibly unique artistic landscape that I think is still trying to find its own artistic voice,” says Orr.We Glowis a play that grew out of Orr’s summer creative labs, where he invites Ottawa theatre artists to the University to experiment with their craft. An original production by Brad Long and Emily Pearlman, the play examines what happens when two executives are thrown off the “life script,” or the intense expectations put on us by society to get a degree, get married, buy land, find a job, climb the ladder, etc. Orr finds his dual role as teacher and director has helped push him in new directions by bringing what he learns from working with professionals to the classroom and vice versa.

Performers Martine Roquebrune and Nancy Kenny

Martine Roquebrune and Nancy Kenny in a publicity photo for Dolores. Photo: Tania Levy

Writer, performer and producer Nancy Kenny will be debuting her French translation ofDolores, a story about a woman who seeks her sister’s help to escape an abusive husband. Translating the play began as an acting exercise in class when Kenny said the lines in French, her native language, to connect emotionally with the character. Set in the kitchen of St. Paul’s Eastern United Church, the play creates a realistic atmosphere for 15 audience members at a time. While some attendees will sit right in the kitchen with the performers, others will peer in through big serving windows to watch the play unfold. “I like shows that make me feel, as an audience member, like a fly on the wall. I’m there up close, peering in on these private lives,” says Kenny.

The Festival takes place from June 20 to 30, 2013. For more information on shows, times and purchasing tickets, visit the Fringe Festival website.

Q&A: Interview with Jessica Ruano and Victoria Grove

thetrendtube footage of a Live Q&A on May 26th following a performance of ‘Sappho …in 9 fragments’ at The Rose, Bankside, hosted by Jo Webber, featuring director Jessica Ruano and actor Victoria Grove. Focusing on the representation of women in theatre and aspects of this production that tours Canada and plays at the Edinburgh Festival Fringe this summer.

REVIEW: One Stop Arts ★★★★

Piecing It Together: Sappho…in 9 fragments at The Rose

Sappho…in 9 fragments is a sensuous love letter to the poet Sappho, exploring her identity through the few fragments of her work which are left behind. The performance and staging is magnetic collaboration between actress Victoria Grove and Director Jessica Ruano not to be missed. At the Rose Theatre, Bankside.

Review by Veronica Aloess
24th May 2013
★★★★

The Rose Theatre is an archaeological site, where London’s first Bankside theatre was built in 1587. It’s strangely appropriate for this one woman play written by Jane Montgomery Griffiths. The echoes of history which reverberate through the barren building twist the fine thread Sappho treads between mythology and contemporary perceptions of the poet –teacher, mother, wife, lesbian, and so much more – by looking at how generations have labelled her and loved her. Sappho asks how her story can have ended, when it was lost?

The fragments the play’s title speaks of are the nine books of Sappho’s work that were lost, only partially accumulated in fragments; in fact only one poem of Sappho’s exists in its complete form.Sappho is about filling in the gaps, and whether we have the right to. The script does in fact quote from Six Fragments for Atthis by Sappho, which was assumedly inspiration for said character and a note of admiration from the playwright. Griffiths’ writing obviously takes a lot of influence from Sappho: daringly erotic lines which belong in the world of verse escape Sappho’s lips and dance around the set, lingering in the space and minds of the audience. Her script is sensuous enough to paint pictures where the sparse set cannot.

Victoria Grove is extraordinarily talented. She flips between playing Sappho’s many sides; and despite her surety, the sexually dominant way in which she exudes authority as a celebrity of her time, there is this schizophrenic frenzy in how she can travel the stage – hinting at her inability to define herself outside of the definitions she is given. Grove also plays Atthis, who narrates a much more chronological storyline between herself and a contemporary Sappho, a famous actress playing Phaedre. Atthis falls in love with her at her peril, tenderly discovering herself whilst Sappho remains lost. She is a symbol for the part Sappho’s work plays in modern day lives, particularly in the realm of lesbian literature and being comfortable with your sexuality.

Ana Ines Jabares’ set is a work of brilliance and transports Sappho from interesting to exciting. It’s quite simply an open cage, adorned with white sheets and ropes; like an adult climbing frame. It’s the most dexterous set I’ve ever seen, an absolute gift for Grove to play in. She literally swings from the set, reclines, and pulls gorgeous shapes which tell a story on an entirely different level. This set is used like a thrust stage, playing to three sides of the audience which Grove tries to balance, but it’s definitely a struggle with a solo performance. A little too often her back is facing the audience or, at the other end of the scale, she veers from side to side of the stage so often it’s dizzying and the narrative lacks focus.

There is the problem that without at least a little knowledge of Sappho, and I knew very little, that the play won’t prove satisfying to watch – as you’ll spend half of it working out what’s going on. The script itself doesn’t fill in the audience’s gaps, which is a problem in itself, but otherwise it’s an engaging play with electric performances and exciting staging from director Jessica Ruano. In the Rose Theatre space, it becomes something special.