Review: DIASPORA INFERNO: FROM MY GRANDMOTHER’S KITCHEN, Drayton Arms Theatre
Diaspora Inferno: From My Grandmother's Kitchen explores an urgent topic of migrant women’s lived experience. Reimagining Dante’s Inferno with physical movement, it connects women from different times and cultures with similar experiences to reclaim their agency. Though the concept of this piece is intriguing and well-intentioned, the execution suffers from discombobulation — something many devised practitioners might encounter. It lacks clarity in a consistent theatrical language and tone.
The piece looks at seven sins through the lens of “emotional inheritances shaped by migration, trauma, and resilience.” Using personal testimony, ritual, and physical movement, it explores themes of womanhood, exile, injustice, survival, and resilience.
Director Eliona Gagani’s metaphors occasionally fall flat due to their literality. A critically acclaimed movement director once told this reviewer, “Never use your first idea.” Never is a figure of speech and though not always true, it does encourage makers to dig deeper into their making and explore more ways of expression. With the many great and important messages this show is communicating, it feels like many images are the first ideas that came to mind. If given the opportunity, time, and space, maybe the team could have brought more immagination in front of the audience.
Though the actors are lovely and passionate, it is clear that some feel more experienced than others. For a community theatre project, having less experienced community members as actors is encouraged and a healing process on its own, but it is important to play to each actor’s strengths rather than forcing slightly awkward attempts of contemporary dance movements onto someone who might not necessarily have the training and background. The moments centred around the story behind the movement are much more compelling than seeing many imitate a dance move that doesn’t sit quite right in their body. However, the clowning and absurdity work well at times. These are the moments when we truly feel the actors enjoying themselves on stage — and by that, we as the audience enjoy it more.
The piece beautifully blends together multiple languages, including Albanian, Italian, English, and more. This is a powerful choice that Gagani made. It instantly shows us how relationships, emotions, and the hardship women face are without borders.
The set is not serving the piece. The fallen leaves covering the ground look beautiful at first glance, but once the actors start moving around we quickly realise there are multiple issues with this. In the moments when actors immerse themselves in the leaves on the ground, the leaves get tangled in their hair or stuck on their dresses. It looks messy in a non-intentional way. More importantly, when they start running around on stage, they have slipped multiple times on the leaves and one or two times actually fallen. As the audience, it feels unsafe, taking us out of the story, constantly worrying that they are going to fly towards us.
The cords hanging above their heads have a similar issue. They look nice at first, but they are clearly an obstacle to the actors’ movement. A few taller actors constantly run into them or have to very intentionally duck down to avoid them. Yes, they do hang some props on there, but is it necessary if it sacrifices the peace of mind of the performers? Functionality is a big question for the overall design of the set.
The piece has a strong concept, but the execution never quite takes us there. We would love to see this piece developed further, perhaps with the help of a more experienced movement director and set designer, playing to the existing strengths of the actors.
*** Three stars
Reviewed by: Diana Feng
Diaspora Inferno: From My Grandmother’s Kitchen plays at London’s Drayton Arms Theatre until 15 November, with further info via the link below:
https://www.thedraytonarmstheatre.co.uk/diaspora-inferno