The Enfield Poltergeist.

Rooted in true events The Enfield Poltergeist, written and produced by Paul Voodini and Kiera Rhodes, recounts the sad tale of Maurice Grosse whose daughter Janet was killed in a motorcycle accident whilst out for the evening with her boyfriend. In an attempt to achieve some level of personal peace following Janet’s tragic death, Maurice joins the Society for Psychical Research and is eventually asked to investigate ‘The Enfield Poltergeist’.

In August 1977, single parent Peggy Hodgson had called the police to her home in Enfield claiming that she had seen furniture moving of its own accord and that her two children, Janet and Margaret, had heard unexplained knocking noises against the wall. During the following eighteen months numerous people, including the police, paranormal investigators and journalists claimed to have seen inanimate objects moving of their own accord and heard unexplained strange noises and voices.

Maurice cannot fail but to become haunted by the many perceived coincidences that appear to be centred around Janet Hodgson, a child with the same Christian name as his deceased daughter. He soon comes to believe that he can help this child, which in some way will afford him some redemption for his feelings of helplessness and his inability to save his own child.

Voodini takes the part of Maurice whilst Kiera Rhodes tackles the role of both of the Janets. Both very convincingly portray their very disturbed characters to great effect, whilst each in their own way continue to search for some kind of inner peace. The two actors clearly have enjoyed a close collaboration in producing this piece of work as they are so relaxed and comfortable with each other, both on stage and behind the scenes.

The production was both evocative and thought provoking bringing to life the very human stories that lay behind the shocking headlines of the day. It is hard to believe that all of this was achieved with a very simple stage set up, a minimal use of props, little or no costume changes and the very simple but very effective use of blackouts and sound effects to mask the ‘poltergeist’s’ disturbing and destructive actions. All credit to both of the actors for so effectively bringing the story to life.

The play is next to be performed at the Tabard Theatre in Chiswick on the 5th August, which co incidentally is a very significant date as it was on the 5th August that Janet Grosse died setting in motion Maurice’s investigation of the Enfield Poltergeist and ultimately this evenings play.

Is Any Body Home?

Is Any Body Home? Is an intuitive journey of exploration from what used to be ‘home’, to a foreign land now which is now called ‘home’. Home will most likely mean differing things to differing people. I consider my home to be a place of safety. The rise of social and professional mobility means that some may possess numerous homes, or weekend homes, whilst to others, who have been forced out of their homes and homelands, a home may be but an illusion of safety. To the elderly, a care home may be their last home. Is home simply but a concept?

Throughout our lives the understanding and perception of our home may change and vary. Is home a place, a feeling, a person, a body, even is this my home? If we were to recognise our home, is there even a way home? Is home still home? Is Any Body at Home? And as our perceptions and circumstances change, we must undertake some journey or transition to a new place we can regard as home.

Wency Lam, the choreographer behind this piece has created a beautiful and thought-provoking piece of work. She professes a particular interest in exploring themes such as migration, identity, colonialism and body politics through the medium of dance.

The stage is bare, the lighting discreet and the jarring music force the audience to focus solely on the dancers, Hsinyu Wu and Esme Lovell, who demonstrate exceptional grace, strength, flexibility and agility. They portray a remarkable range of feelings and emotions through movement leaving the audience in no doubt as to their struggle and the anguish endured during their journey towards home.

Modern dance is very similar to contemporary art and with everyone’s differing life experiences, we are all likely to recognise and appreciate something different from what we see and hear. There cannot be any one claim to an exclusive idea as interpretation is in the eye of the beholder.

For me, Is Any Body Home? Is a thought provoking and beautiful piece of work and I will look forward to seeing other work from Wency Lam in the future.

Both of these performances are destined for the Edinburgh Fringe Festival and both are currently on tour generating both feedback and publicity. This was my first visit to the Theatre Deli in Sheffield and I was unsure of what to expect, however, I was pleasantly surprised by both the venue, the facilities and not least the evening’s two performances.