Chickenshed’s RISE Festival 2025: young directors create and perform

Collage by Shakira with promotional material from Chickenshed

Shakira Dyer reviews new short drama pieces on history, belonging, culture and dance

Chickenshed’s RISE Festival 2025 once again provided a platform for young directors, choreographers and writers to produce their own work.

Like before, many of these pieces focus on the power of issue-based theatre to tell stories relevant to today. However, this year’s pieces were completely different to those in RISE Festival 2024 which I reviewed here.

Unofficial UK Field Guide
Created by Ammar Awad (not born in the UK) and Seb Ross (born in the UK), the two decided to make a satirical exploration of Britain, as seen by an ‘outsider’. Though at times the depiction appeared to be as seen by an insider, as they knew how to make lighthearted jokes about “this island rock we call home.”

Unlike the other performances, this was a video, projected on the wall. The video showed photos, like memes appearing, to explain what was being said.

For instance: “They used to own half the world (British Empire), now they can’t even win a sports match!” This quote was accompanied by multiple photos of losing at football.

Local food such as ‘baked beans on toast’, ‘toad in the hole’ (Scotland?) and ‘fish and chips’ were mentioned. ‘Typically’ British biscuits such as Jammy Dodgers were given out to the audience before the show as well!

Strong and Sharp
This was a historical story by Ashley Driver and Angel, both Black directors. With their piece aptly named ‘Strong and Sharp’, to reflect the protagonists’ surnames, they wanted to tell the true story of Jonathan Strong, a black slave in Britain in the 18th century, who was beaten by his master (so badly that he became partially blind and unable to walk), and Granville Sharp, the white abolitionist who genuinely helped Jonathan, when no one else would.

I had read about Jonathan Strong and Granville Sharp once before, in David Olusola’s history book ‘Black and British: A Forgotten History’.

The play started powerfully as Jonathan lay on the ground, with only Granville walking up to him and lifting him up, bringing him to his brother’s doctor’s office.

They wondered how to help Jonathan. The idea of pretending Granville was his owner was brought up, which suggests that in the 1700s people expected black people to have a master (even in Britain where slavery ‘technically’ didn’t happen).

Granville didn’t want to be associated with the idea he had beaten Strong like that.

The excerpt finished when Jonathan was taken by a ‘third party’ into a strange carriage.

Angel, who played Jonathan Strong, said that it had felt “a bit awkward to play a slave” as a Black person today. However he was proud that the story was getting out, and that he was inspired by “the power of issue-based theatre to bring these stories to light.”

Rule Book to Society
This is one woman show, created by Hannah Whitfield, a neurodivergent, autistic director and podcaster (No Longer Legally Detained).

Hannah’s theatre show was based on her experiences of the mental health system. However, the show started with the character at school, being put in ‘isolation’. Being brought out of the classroom, and not ‘included’ in the lesson itself.

The student wonders how this is supposed to help her learn. She expresses that feeling through a song from the musical Matilda called ‘Quiet’, where Matilda says, “I’ve known I’m a bit different from my friends… and when everyone shouts they seem to like shouting and the noise in my head is incredibly loud.”

The student character in ‘Rule Book to Society’ also has an (unseen) headteacher who shouts at her, leaving us only to hear him through her perspective, as she involuntarily blanks out the conversation. “Oh s***, he’s talking about exclusion, isn’t he?”

This leaves her to wonder the point of inclusion and exclusion “to include, you have to exclude,” it seems. She’s also left to wonder if she should stay, as her teacher expects her to, or go.

I wondered if the character meets anyone who helps her and suggest alternatives to that theory. Later on, the story involves a mental health institution, and ideations of suicide (both topics in which the actor has lived experience).

The character seemed incredibly sassy and bright, so I wonder how she will navigate her situations.

Hannah: “We (neurodivergent people) are faced with things that are hard for us, yet easy for you… However, we can do things that are hard for you, and easy for us.”

Food for Thought
Created by spoken word and rap artist Alex Brennan, the story follows a young couple who had just been in an argument. He had made what he felt was “a joke”. She hadn’t found it funny, and wondered why he had made everyone laugh at her.

Luckily, they are able to explain to each other how they felt, and launch into spoken-word rap about what makes each other special.

“Your smile, your face, your laugh, your place…” and something that didn’t even rhyme, but they continued regardless. I want to see how this rap snippet ends!

Introduction to hip hop
This featured two dancers skilfully doing a robot dance, moving their arms, legs and belly in a smooth mechanical way, with each other. For example, one dancer would make the other’s chest move up and down.

They also did salsa dances, and I wonder what other dances they would include the final version of the show!

The audience members got to walk around and ask the directors some questions about their shows at the end. I enjoyed hearing the thought process behind each story and the creators’ brilliant ideas!

At a time when cultural art institutions are being underfunded, or restricted into certain types, it’s great to see young directors creating and performing their own work, including those with disabilities and from different backgrounds … and these young creatives can help others to find their voice.

RISE Festival 2025 is open to the public on Friday 14th February and Saturday 15th February 2025. Book now!