Performed at Hoxton Hall, this production conceived by Michael Walling seeks to "engage people from Latin American backgrounds in an act of collective remembering, forging new and often surprising connections with their histories and cultures." Having been born and raised in Colombia, seeing this display of a culture that survives despite the centuries of oppression was an experience like no other.

 

Edith Ramos Guerra, a superb Indigenous Andean soprano delights with her interpretation of the songs that have been carefully rediscovered and transcribed from manuscripts dated from the 18th Century, and her counterpart tenor Rafael Montero are at the centre of the 90-minute show. Elements of traditional embroidery, puppetry and dance were not only present but highlighted and celebrated throughout the performance.

 

At the heart of the production is the music, interpreted by El Parnaso Hyspano, an ensemble that underscored the show beautifully. Song and dance took most of the run time, with scenes from history interweaved through it in which the oppression and prejudice from the colonisers (both old and new) exercise over indigenous people.

The above being said, the show had some flaws that can't be overlooked. The structure didn't really work for me and I believe it came down to the rhythm of the piece, the slowness with which we transitioned from one number to the other made it feel more like a showcase than a cohesive piece.

 

The other element where the production fell flat was in the size of the ensemble. The Hoxton Hall is a small venue, and there is no reason why we should have had so many dancers in a very, very small stage. It looked busy and disorganised, which was a shame. In some cases, less really is more.

 

My next point is not so much about the production but about the venue. I was sat in the balcony, and throughout the show members of staff kept coming in and out of the room, opening the creakiest of doors to a brightly lit corridor which flooded the whole level in light. Before the show there was no standard "no phones allowed" notice, which meant a lot of audience members were recording and taking pictures throughout. We often assume this is obvious, but really statistically not many people go to the theatre at all, let alone in a regular basis to get acquainted with basic theatre etiquette rules.

 

I applaud the bravery and drive that got this production made, the sensibility with which it was crafted, the way it involved volunteers and the community at large, and in doing so, furthered its mission to offer a space for remembering and reconnecting with ancestral roots. As a show, I think it needs polish, and it's definitely not a light-hearted watch, but one I would encourage theatregoers to consider, to open their heart to stories that for centuries were systematically eradicated.