Mon 5 & Tue 6 Oct | 8pm | Tickets £14 (£11) | Theatre | Age 18+
Get £7 tickets for Sirens when booked at the same time as Suffragette. Click here for more information about Suffragette.
Ontroerend Goed puts six young women on stage, to talk about how it is to be a female in the Western world at the start of the 21st century.
After decades of feminism, six performers make the balance of how to be a woman – dealing with role models, patterns of expectation, persisting inequalities, acquired rights, inner censorship and everyday abuse as well as the new-found liberties and joys of being a female in the free world.
We are the weaker sex. We’re goddesses, muses, amazons
and warrior queens.
We can’t control our feelings and we bleed once a month, because we deserve it.
We cry, scream, sulk and suffer inexplicable mood swings.
We’re little princesses who love to dress up and curtsy
We need a man to tell us how to get organized
We are either whores, saints or moms
We read signs in everything
We like to provoke but we don’t fully understand the impact
We’re good liars, use our bodies to get on in life, argue that it’s impossible to understand if you’re not a woman
We’re sirens. And the stage is ours.
"…It's the unexpected juxtapositions that make this beautifully put-together show so startling and so thought-provoking. Big, bold, brazen, and not a hussy in sight. Only real women asking what it means to be a feminist." ****
"…despite what sometimes seems a disturbingly confused line of thought, Sirens emerges as a tremendously vivid piece of work about young western women in the early 21st century, checking their privilege, identifying the battles still unwon, insisting on the right to express their own blazing sexuality; and using their voices in ways that break new theatrical ground, and mark this show out as a fantastic theatrical experiment…" ****
Ontroerend Goed puts six young women on stage, to talk about how it is to be a female in the Western world at the start of the 21st century. Take a moment to consider your thoughts about this starting point. Six women on stage. How do you imagine the rehearsals? Structured or loose? Is there a lot of talking? How much of it is to the point? Has anyone cried in the process? Do they get along, these six women? What are the odds they don’t? Will they make it to the premiere in time? If I told you their director is a man, would your “yes” to the previous question be more confident? Does it annoy you these questions suggest a prejudice you’ve done away with a long time ago? Have you thought of the word “feminism” so far while reading this text? What about the words “intense”, “trouble” or “complicated”? Would you be tempted to use the title “Sex in the City” to pitch the show?
Oh and…have you caught yourself thinking of their bodies by now? Do you expect to see their bodies in the show? If so, are they dancing? Forget about all this. Sirens starts off as a concert. Six voices, six vocalists screaming their lungs out. Loud but controlled. Because they enjoy it. Because women are overemotional. Because they want to show their power. Their anger. Their pride. Because they are the weaker sex. Accompanied by a soundscape of high volume shrieking, Sirens takes you on a journey through a panoply of images representing contemporary femininity. After decades of feminism, six performers make the balance of how to be a woman – dealing with role models, patterns of expectation, persisting inequalities, acquired rights, inner censorship and everyday abuse as well as the new-found liberties and joys of being a female in the free world.
They’ve taken control of their appearance and use their range of expression to great effect. They’ve moved on, past militant anti--‐male rage to the belief that men can be just as feminist as women. The performance uses images from the fashion industry, advertisement and porn, language bites exemplifying everyday verbal sexism, drawing on personal experiences as well as social media and song lyrics. The screaming is carefully orchestrated in a musical composition by a professional composer. In this way, the performance explores the space between concert and theatre piece, showing sublime mastery of the female voice in every sense of the word.
Ontroerend Goed, Richard Jordan Productions, Theatre Royal Plymouth & Vooruit in association with Summerhall and Big in Belgium.
Karolien De Bleser
Charlotte De Bruyne
Marjan De Schutter
Director Alexander Devriendt
Written by Karolien De Bleser, Charlotte De Bruyne, Aurélie Lannoy, Marjan De Schutter, Anemone Valcke, Verona Verbakel
Dramaturgy Joeri Smet & Mieke Versyp
Stage Design Sophie De Somere
Costume Manu Verschueren
Photography Stine Stampers
Composition Joris Blanckaert
Technique Creation Jasper Taelemans & Elke Verachtert
Production Manager Nick Soper
Technical Coordinator Mark Hawker
Wardrobe Mistress Cheryl Hill
Touring Technician John Barron