Reeling from local events, Demand The Impossible explores the experience of the Cardiff Anarchist Network when an undercover police officer invaded their circle. This ‘part performance, part punk-gig, part-sensory experience’ takes theatre in a particularly unique direction with its use of live cinematography, live music and live projection. In this production, three main protagonists battle for the spotlight: a Black Lives Matter activist, a blacklisted construction worker and an environmental activist.
The actors move around the concert hall, allowing the audience and the band to follow their promenade through the open space. While initially intimidating, the spacious room meant movement wasn’t necessary, but optional. The highlight of this immersive, 360 experience, must have been the live band and their lead singer.
Not only was the passion of the vocals clear, but the punk, drum-heavy, densely lyrical style of music aligned itself thematically with the mood of the drama. Nothing was contained in this performance: actor, audience, and musician blur expected boundaries. As such, the lead singer immerses himself amongst the conversation: calling for the attention of ‘riders and punks, punks and riders’.
This choice imbued the performance with compelling instability— anyone around you could be part of the demonstration. Other stylistic choices lifted the performance and gave it a life of its own. Live cinematography on a nostalgic camcorder followed the actors around the space, and was broadcast onto sheets of thin fabric hung around the venue.
Notably, projection of spy-cop court procedures onto these tarps was highly gripping, effectively highlighting the barbaric immoralities of officers engaging in intimate relationships when undercover. At times, this stylistic decision was not only bubbling with creativity but helpfully practical, as the audience are relieved from chasing at the promenade’s heels, when the action is broadcast onto the walls. At other times, rapid camera movement and quieter music left the audience with squeaking shoes and chaotic panting.
The content of the drama had a more varied impact. Each aspect of the characters were driven from real people and real events. The actors make this as explicit as possible— calling on local incidents of racially prejudiced policing and police brutality.
This performance brings some refreshing political conversation to South Wales
Among those mentioned are Mohamud Hassan, Frank Bailey and the Cardiff Five (John Actie, Ronnie Actie, Stephen Miller, Tony Paris and Yusef Abdullahi). Ignored, harmed or unfairly arrested by police: these names spark the anger behind the writing and acting. The writing itself was exciting and unapologetic— ‘Welcome to the 21st Century Holocaust’ where ‘if you are poor, you are fucked’.
Where the drama falls behind, perhaps, is in how it takes on the messiness and disorder of the institutions it castigates. The subject matter of police injustice, brutality and deception are complicated, nuanced and chronic. Addressing each of these topics in their overwhelming variety causes the drama to feel, at times, scattered — covering Gaza, BLM, class injustice, blacklisting, climate change and undercover policing in about an hour.
Profusely punk in its anarchy and eagerly innovative in its style, this performance brings some refreshing political conversation to South Wales.