Finborough Theatre – until 1 February 2025
Reviewed by Claire Roderick
4****
Saana Sze’s debut full length play is a hard-hitting but humane examination of identity and conformity in education.
The school experience is described by Martha as a student and as a trainee teacher. YoungMartha (Sam Bampoe-Parry) and NowMartha (Shiloh Coke) inhabit opposite ends of the traverse stage, both recognisable as classrooms on Delyth Evans’ simple but effective set. The two actors’ stories interweave as Martha’s struggles to conform in school unfold.
While NowMartha is proudly black and non-binary, YoungMartha is becoming aware of her sexuality and identity, and this adds to her confusion and need to be part of a group. Sze’s depiction of the blatant prejudices and microaggressions shown by school staff is heartbreakingly familiar, making the shift from keen student to “problematic” to exclusion much more believable as YoungMartha realises that certain teachers ignore the actions of white students and automatically blame Martha and her friends. Martha becomes disenfranchised and joins in with malicious revenge but never loses her inner spark of hope and passion for writing – which obviously worked out well as NowMartha is qualified to train as an English teacher.
NowMartha’s enthusiasm and excitement at giving back and engaging and enthusing students just like them and their friends is palpable – even if their wife has convinced them to not wear a binder to work and answer to Miss. As a teacher, the talks from the school leadership would have seen me doing a full 180 and sprinting out of the door, but an inexperienced newcomer can’t spot the danger signs so easily. In this particular academy trust, the buzzwords of the year that are bandied about on school websites are weaponised by the many layers of managers who value ideology over pedagogy. Students are reminded that diversity, inclusion, and tolerance are important, while at the same time the students chant William Blake’s London. In a school system that follows the business model, there is no room for non-conformity – be that from student or staff. As they are rebuked for each well-meaning action and become less confident, the pain of denying their true identity each day at work becomes increasingly intolerable and NowMartha discovers that staff can act as deviously and viciously as children.
The stories overlap and intertwine, but the characters don’t acknowledge each other until both are struggling to survive and share wordless glances of despair or encouragement. Director Dadiow Lin manages the action sympathetically, balancing the laughs (YoungMartha’s incredulous reactions to what is happening around her, and descriptions of characters are very funny) and the darker moments. Arnim Friess’ lighting and Max Pappenheim’s sound design are intelligent and add to the rising tension.
Shiloh Coke is a powerhouse as NowMartha, full of optimistic enthusiasm as the training period starts, and slowly getting worn down by the immovable and uncaring position of the academy management. When NowMartha finally breaks down, the anger and pain of allowing their misgendering is portrayed beautifully. Sam Bampoe-Parry makes their professional debut, and delivers a fiery and sympathetic performance, full of wit and physicality.
The stark portrayal of the shortcomings of education – particularly the blanket approaches of academy trusts, where many schools all follow the same mission statements and aims rather than writing them based on what their students actually need – and the treatment of individuals who don’t conform is sobering, and any teachers in the audience will need a stiff drink after the show. Belly of the Beast is a fantastic debut, tackling identity, conformity, and suppression with wit and ferocity.