Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Feb 19 – Mar 21, 2020
Director: Shane Anthony
Cast: Andrew Fraser, Cassie Hamilton, David Helman, Eddie Orton, Sam Plummer, Ross Walker, Tim Walker
Images by Jasmin Simmons
Violence is an indelible part of LGBTQI history in NSW. In the many years leading up to the decriminalisation of homosexuality and then the legalisation of same-sex marriage, Sydney’s gay men and trans women especially, have suffered physical harm, to the extent of murder, as a result of homophobia and transphobia.
Our Blood Runs In The Street is a work of verbatim theatre, composed of accounts by victims, as well as “family members, witnesses, historians, police officers, journalists and researchers,” presented alongside contemporary dance and physical theatre, for an examination of the prejudice and brutality that has shaped the community.
With stories mainly from the last three decades of the previous century, director Shane Anthony and his team have collated a meaningful text from which we can better understand that past. We are additionally informed that investigations are ongoing, in case new revelations should surface as a result of the show. It is a heavily fragmented work, and although able to convey the severity of incidents, struggles to elicit emotional involvement.
Visually enticing, with imaginative choreography throughout, and lights by Richard Whitehouse bringing constant colour and movement, our eyes are kept entertained. Auditory capacities are attended by composer Damien Lane and sound designer Nate Edmondson, who move us seamless from scene to scene, as they maintain an uncompromising gravity for these harrowing tales.
Seven performers, each one earnest and passionate, deliver testimonials with indisputable conviction. David Helman is particularly impressive with his clever blend of words and movement. Imagery and dialogue in the show do not always work well together, but Helman makes us watch and listen with coherence, without distraction from one or the other. A powerful speech is given by Cassie Hamilton, captivating in her stillness, recounting the serious under-estimation of violence against trans people, as reported by Eloise Brook of The Gender Centre.
The times are slowly changing, but problems for LGBTQI Australians continue, now most notably for ethnic minorities in suburbia. That the stage for Our Blood Runs In The Street is filled with white bodies, is indicative of the disparity that exists between cultures. People of colour have benefited from the work of Western activists, but there remains challenges, specific and nuanced, yet to be addressed. Pride has functioned as an effective war cry for many queers, but it is still a concept that eludes some, for which shame is still the default experience.