With Britain’s prisons stretched beyond breaking point and an inferno of public debate raging about the early release of inmates, little mention is made of the impact chronic overcrowding can have on vulnerable prisoners. And whilst populist public discourse often descends to the simplistic mantra of “lock them up and throw away the key”, Woodhill is a stark reminder that people are sent to prison as the punishment – not to be further punished – and the chilling consequences of an antiquated criminal justice system not built to cope at any level in 21st century Britain.
This punch to the gut piece of theatre that thrusts the devastating consequence the prison system mess can have on vulnerable young men’s lives, and how their only escape from the circle of despair is early release at their own hand.
Told as a documentary using sharp-stylised dance-moves with the narrative told over a thumping bass beat, Woodhill has been created by the award-winning LUNG Theatre, and is written and directed by Matt Woodhead, the play marries verbatim testimony from inmates, relatives, politicians, judges, guards and coroners reports to lay bare the horrors of real-life tragedies at HMP Woodhill, the high security facility near Milton Keynes where 33 men have committed suicide since it opened in 1992 – the highest death rate of any UK prison.
The production focuses on three men, Chris, Kevin and Stephen, all of whom are loved children whose path through state and societal failings married with consequences of being in the wrong place at the wrong time, lead – seemingly inevitably – to jail where they are exposed to a brutal and corrupt regime they are ill-equipped to handle.
Using over 150 hours of recorded interviews, Woodhill tells of the grief-stricken relatives desperate investigation into what really happened to their loved ones, uncovering damning failing upon failing as they battle to extract information from the very institution that failed to keep the men safe.
This has nothing to do with guilt but rather raises the vital argument about highly vulnerable people being failed at every juncture by government cuts in education, youth provision and mental health services.
The three main characters, represented in visual dance form by Tyler Brazao, Miah Robinson, and Marina Climent are each totally captivating as their descent to death unfolds, whilst Chris Otim’s presence as a ghost becomes increasingly prominent as – like the Grim Reaper – he lurks the stage spreading the ashes of the growing number of deceased.
The production arrives at Edinburgh Fringe having morphed into as much a political campaign as a piece of art with the Woodhill Families Group, a collaborative process between the theatre makers and bereaved relatives having now presented their call for criminal justice reform to over 70 MPs.
A must see piece theatre that challenges the way we see those caught up at the very edges of society.
Daily at Zoo Southside until Aug 30th
