Triangle, Godiva

Review in Issue 8-4 | Winter 1996

‘Hello, come inside…’, the breathy voice of a peep show girl teased. Ripples of disturbance were felt amongst the audience as they entered the theatre and recognised themselves in the role of voyeur. It was this tension between discomfort and play which drove the piece. Godiva refused to offer its audience comfortable versions of either themselves or others. The piece does not offer a simple narrative structure, but a skeletal pattern, in which the elements recursively appeared and transformed as the piece unfolded. There is no doubt however about how the piece communicated. Gut responses were paramount to both the intention and effect of the piece on the audience. Waterfield, a tiny figure, towered throughout the performance. She is a past master of ‘slippage’, moving physically, vocally and spiritually between characters, signalling the elemental connections. Through Godiva’s task, Waterfield harnessed and recombined the energies inhabiting the different characters of Leofric, Godiva, Tom, Councillor, Alice (a contemporary Godiva procession candidate) and the horse. She transformed the pain, exhaustion and humiliation Godiva experienced into a new positive energy. On one level Godiva might be the resolution of the story of Godiva’s gift to the people of Coventry, but it was also universally relevant. It was an exploration of male domination (and humiliation) of female, of the fertility of female power, of the potential harmony in facing the pain and effect of human behaviours and then using that understanding to forgive and rebuild. The show was presented with a pre-performance workshop and post performance talk.

Presenting Artists
Presenting Venue
Date Seen
  1. Oct 1996

This article in the magazine

TT 8-4
Issue 8-4
p. 22 - 23