The spirit of The Fellowship Inn’s most famous punter, boxing legend Sir Henry Cooper, looms large in this ambitious new play brought to the stage by a fabulously talented community group.
Penned by Rhik Samadder and directed by Thomas Guthrie, Dancing in the Mirror spans the 1920s right through to the present day, in a timeline that takes a bit of effort to grasp, centring upon boxer Jade (Jessica Eden), whose life in the workhouse / in care has been rescued by her love for boxing. Jade’s life pivots, though, upon meeting aspiring thespian Mica (Ben Butler), ostracised for his stammer, finding solace and a romantic spark in the support Jade provides.
It is a neat, albeit ferociously ambitious, piece that leans heavily upon Romeo and Juliet in its concept, but one that is also beautifully staged in the atmospheric Inn, utilising the traverse staging to great effect to make the audience feel like ringside seat viewers to Jade’s sparring as well as the internal conflicts she undergoes.
As Jade, Eden is strong in creating a vulnerable yet defiant character, and this is maintained despite the play’s awkward transitions between decades. The timelessness of a woman struggling to find her place in the world works well here, and Eden succeeds greatly in reinventing the character while keeping the anxieties consistent despite the time changes. Meanwhile, Butler’s Mica is well-formed, and Butler does a terrific job of controlling Mica’s stammer in a manner which evokes sympathy without overplaying it. Samadder’s script works well in the moments between the pair, with the ‘will they won’t they’ charm of their relationship forged quickly and to good effect between Butler and Eden.
Yet the real charm of this production is the community spirit that runs through the piece. A collaboration with Music and Theatre for All and The Lewisham Creative Chorus, Dancing in the Mirror champions inclusivity within the arts, and to great effect. The enormous ensemble is deft in their scene changes and in creating the gloomy, almost sinister, atmosphere of turn-of-the-century London, and the rousing final scene, where the ensemble unite in song, is a powerful reminder of the human spirit that this piece leans so heavily upon, in an accomplished performance that sees many of the performers take to the stage for the first time.
The piece is also preceded by a knees-up sing-along in the bar beforehand, featuring ‘Maybe It’s Because I’m A Londoner’ as well as ‘Ave Maria’, performed by Cooper’s nephew Neal, in an energetic start that establishes the strength of spirit within the work.
It is a triumphant community project, and one that bursts with heart and pride.
