Twilight: Los Angeles 1992, The Gate Theatre
Theatre Review
On Thursday 1st February I made my third visit to The Gate Theatre to see Twilight: Los Angeles 1992. Originally performed in Los Angeles’ Mark Traper Forum in 1994, this one woman show was written by Anna Deavere Smith as a direct response to the 1992 Los Angeles race riots. The script is made up from transcripts from nineteen interviews from people present and directly effected by the riots. From Korean shop owners to African American congresswomen, race relation activists and white police officers, the play really gives a snapshot of the racial tension that led up to and created the riots.
For me, the writing is a huge strong point of this show. At many points it felt like certain monologues were paired together to create a juxtaposition that highlighted the vast differences race played in how America experienced the riots and racial tension in general. One moment that stood was when two characters, one Black man, one White man, spoke about having a room in their house dedicated to the riots. Without spoiling too much, the reasons behind why each individual wanted to create a memorial to this destructive event truly exposed just how much race impacts how one navigates everyday life in modern America. And this differentiation is not limited to the performer and the characters she portrays.
One of the production choices made by director Ola Ince was to not have the lighting fully dim during the duration of the play. This allowed audience members to see each other’s reactions to the events described, and leaves nowhere to hide when uncomfortable realities of racial prejudice are put of full display. The decision to never (or rarely ever) fully dim the lights also allowed the performer, Nina Bowers, to interact with the audience in a way that enhances the whole theatrical experience.
Now, this is not by any means the immersive theatre that seems to be in trend right now. And it does not lack anything because of this. Nina’s ability to capture the essence of such a wide range of characters is quite honestly remarkable. I have a great admiration for actors who take on one-person shows. But to take on a one-person show made up of umpteen characters is, in my view, a gargantuan theatrical challenge, and one that Nina conquers seemingly with ease. The lighting allows her to connect in a way she other wise could not, and she takes advantage of this at every given opportunity. Nina looks you in the directly in the eye as she delivers heartfelt monologues of anger and hurt. She dances energetically with rebellion as strobe lights flare and a soundtrack of KRS-One and NWA booms through the auditorium. She voices authority and voicelessness with equal conviction, leaving you in the audience to decide for yourself what side you stand on. In these ways, the marriage of direction and performance were perfect for delivering the message of this show in the spirit I believe it was written in.
However, there were some directorial choices I personally questioned. Now, for those who have never been to The Gate, they have a very novel ticketing system. You never receive a physical ticket for their shows. Instead, when you arrive at the box office and confirm your booking, you are given a laminated card which you hand back to front of house as you enter the auditorium. This allows them to cut printing costs, reduce their carbon footprint and all in all it feels very genuine. For this show, or at least the performance I went to, you receive a name tag where you can write your name and what you want to talk about. Later, during the tea and coffee break (you read that correctly) you are encouraged to talk about your chosen subject. And if that is not stimulating enough, the cups have quotes to help get things going. I get it, they are literally trying to be conversation starters. Personally, I found it rather forced and a tad cheesy. If I think about it, perhaps even a tad disingenuous when you think about the reason The Gate do not have printed tickets in the first place.
But please, do not let this put you off. I can imagine this working well if you get the right mix in the audience, and perhaps if I was in a more chatty mood on the night I might have appreciated it more. Either way I believe it was not needed. The script, direction and especially Nina’s performance speak more than loud enough to not require extra prompts. I would also say, if you watched the Oscar winning OJ: Made in America documentary, I implore you to see this play. If you did not but having even a passing interest in race relations in America, I implore you to see this play. If you want to marvel at a stunning tour de force of a theatrical performance…well you get the idea now. An excellent play, and I will be sure to keep my eye out for the name Nina Bowers.
