Battlesong of Boudica
Reviewed by V Cate
The School of Night at the Hudson Backstage
Through April 30
In 61 C.E., badass warrior queen Boudica led an uprising against Rome. The Roman Empire was still in its adolescence and would not crumble for another 400 years. Still, one woman’s rage nearly destroyed it all. All told, it is estimated that Boudica’s forces defeated somewhere between 70,000 and 80,000 men, and that’s with inferior military capabilities and armor. She was ultimately defeated in the Battle of Watling Street, but the amount of carnage exacted by a woman emasculated the patriarchal Rome. Ultimately, Emperor Nero continued his occupation of Britain — nonetheless, Boudica became a symbol of feminist strength and aspirational anger that endures to this day.
Christopher William Johnson’s script depicts Boudica faithfully (insomuch as we know of her tale through the Roman historian, Tacitus). The play closely resembles a tragedy but does not waste any time on poetry or any particular human insight (as Greek classics and Shakespearean tragedies do). We can almost understand that Boudica’s hubris or her ill-conceived dealings with a death-hungry goddess leads to the downfall of her family and tribe, but dramatic resonance is not the focus of this particular telling.
As a theatre company, The School of Night often focuses on a few signature stage elements: stage combat, puppetry, and mask work. This production utilizes all, but is, essentially, a vehicle for the former.
Jen Albert, who also stars as the steely warrior, has choreographed a staggering amount of stage fighting, so that the ensemble spends almost the entire 90 minutes in battle. Effective blood play and puppetry come across as real theater magic, and the choreography is smart. But a play that showcases combat so heavily requires performers with a high level of physical prowess. As is, the audience receives glimpses of a sharp vision, but one which is ultimately is not executed fully.
Kate Coleman’s dance choreography, which evokes a ritual barbarism, stands in for training montages and recalls Celtic dance — includes timing and precision that unfortunately seems out of reach of many in the group. (Shoutout to Chloe Madriaga’s impressive live drumming, which sets the tempo and intent for each character interaction and battle scene.)
Still, the stamina of the actors, the compelling point of inspiration, and the fire in Albert’s performance make it a show to reckon with. Aside from lack of poetry, the production’s biggest fault is an ambition that outweighs its means. Yet, it remains an inspiration for what we can do with limited means against forces that demand our defiance
The School of Night at the Hudson Backstage, 6539 Santa Monica Blvd., Hollywood; Fri-Sat 8 pm, Sun. 3pm. www.school-of-night.ticketleap.com/battlesong-of-boudica/; Running time: 90 minutes, no intermission.
