‘The Angry Brigade’ was a small cell of left-wing, anti-elitist urban guerillas in 1970s Britain.
It was a time of global upheaval, riots, black-power and women's lib movements, protests against the war, and so on.Theatre piece 'The Angry Brigade' aims to focus on the opposing sides of the conflicts of this time. It's a look at political activism which asks the question, 'when does one person's freedom fighter become another person's terrorist?'.
Here, Director Alex Bryant-Smith answers some questions.
Can you tell us a little bit about 'The Angry Brigade'?
'The Angry Brigade' shows the same moment in British 1970s history through two sets of eyes – a group of cultural revolutionaries, born of the counter-culture of the late 1960s and radicalised to the extent of literally blowing up what they perceived as the Establishment, and the police task force set up to investigate, understand, and arrest them.
As the director, what things do you think you've brought to the show that will really help to communicate the messaging throughout?
If anything, I have provided a rallying point for a group of fantastic storytellers to bring this great text to life. There are sound, lighting, and projection elements that will all be utilised to build the two worlds of the play. The creative conversation of rehearsal rooms and design meetings is a far more effective crucible than the mind of any single director or artist – I look forward to seeing what my collaborators bring to the table.
What do you like about this type of theatre piece?
This piece is two distinct halves, with huge points of difference but also working in tandem – a challenge, but an exciting one.
And was there anything in particular that you were looking forward to about tackling this particular story?
It is of its time, but it is of now as well. It sets up the beginnings of the journey towards the thin end of the wedge that we are at now – Late Capitalism, the triumph of neo-Conservatism. It's all a cycle, still going. . .
What are some of the challenges involved with directing a piece like this?
Well, it is written from, and of, history – but certainly, some licence has been taken with certain facts, timelines and participants. The challenge is sometimes to separate fact from augmented fact and work from the text first and not from the historical narrative.
And on the flipside, what are the rewards?
The chance to create something that makes people both think and feel, and reflect upon their experiences of being alive, here and now, at this moment in history.
What is your favourite part about being a director?
See above. Also, I'm an actor first – so it's nice to be driving a project and not waiting for the phone to ring.
How are you hoping audiences react to the work?
I would love them to laugh a little, feel a little, think a little, and then tell all their friends to come and see the show.
