Grace began this satirical play as an optimistic American from Denver, Colorado, confident in the process of renewing her UK spousal visa. However, five government officials forced her through a topsy-turvy world of Alice in Wonderland-like challenges ranging from biometrics to a lesson in making tea. Language was twisted, a dystopian cast of characters encountered, and by the end the audience was left exhausted from the tribulations Grace had been forced to endure. Many scenes directly referenced Lewis Carroll’s book, and it was astounding how well it mirrored the inefficiencies of modern government procedures.
The cast was exceptionally strong, each with memorable moments. Imani Jackman was very relatable as the increasingly frustrated protagonist, accurately capturing the nerves of someone under high pressure, extremely aware that one wrong word could negatively impact her life. Jackman’s performance only gained in strength throughout the production, voice quaking as she begged for her documents to be processed and the rest of the charade to come to an end.
Each of the other characters was named after letters of the alphabet. A and B were the show’s Tweedledum and Tweedledee, played by Enzo Bishop and Blue Marsan. Each dressed in oversized grey suiting, the two threw themselves into their roles, with deliberately unnerving gazes and full commitment to the physical humour of their interrogations. They played off one another with great success, especially during a scene where the two squabbled while taking Grace’s fingerprints.
Lilibet Viner commanded the stage as C. A Queen of Hearts-like imposing and intimidating force, she spoke icily, with calm composure hiding a continual undertone of judgement. Relishing in her power, Yasmine Bertrand as D took particular glee in tormenting Grace, with a deadpan expression that periodically broke to show extreme patriotic passion. Malin Kristina Møller Jørgensen rounded out the cast as E, representing an immigrant who had likely gone through similar administrative hoops, and was now in a position to torment others. Her crisp line delivery was delightful to watch throughout, with a stand-out impression of a government instruction video.
Writer/Directors Rowena Le Poer Trench and Guy Martin have crafted lines of dialogue full of idiosyncrasies and clever word play. Their directorial vision was clear and made full use of the available space. In an especially effective decision, the actors periodically sat alongside the audience, creating the sense of a panopticon, where voices could emerge in judgement at any moment. Visual symbolism was creatively used throughout, with Jackman’s costuming a particularly clear example. Her white dress was originally paired with white Converse sneakers with red accents and a blue cardigan. By the end of the rigmarole, she was accessorised with red heels and apron, becoming a literal representation of the flag of St. George. Red roses were used to represent true Englishness, running the risk of restarting the Wars of the Roses.
Incredibly well conceived, this was a confident production by new company Kalopsia Theatre, produced by Anasazi Bhakti, where every element felt considered, relevant and deliberate. The perfect play for the current political environment, it deliberately holds a mirror up to the sinister nature of anti-immigration sentiments and policies, while also poking fun at human incompetence.
Anyone who has ever been frustrated by the machinations of bureaucracy would recognise something of themselves in Grace’s adventure in Admin-land.
Painting the Roses Red ran from 17th-29th August at the Willow Studio in Greenside Riddles Court
Images courtesy of Victoria Davies Photography and Kalopsia Theatre
Theatre Scotland 
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