Review: TWILIGHT: LOS ANGELES, 1992, Gate Theatre

In 1992 Anna Deavere Smith interviewed a selection of people who were, in some way, involved with the LA riots. In total, 300 people were spoken to, and the actor and playwright then turned this compilation into her verbatim-style play, Twilight: Los Angeles, 1992. Ola Ince's production has taken 19 of the original interviews, and all are brought to life by Nina Bowers.

During the pre-show, Bowers walks around and chats to the audience. She asks them if there is anything that they'd like to talk about, gesturing towards the sticky labels we've all been given that ask the same question. The majority don't really know, and that's fine - there's no pressure from Bowers. She tells people not to worry; they'll never be "picked on" during the performance.

Before adopting the different interviewees Bowers speaks to us as herself, asking many different questions. Is this our first visit to the Gate? Do we want to be entertained? We're told to answer these questions by putting our hands up.

The conversation then swiftly moves toward the territory of the piece's themes. Is rioting a worthwhile form of protest? Have you ever treated your friend differently because of their race? Do you hold a position of power? The responses bring no judgement, and Bowers' friendly engagement ensures that everyone feels relaxed.

What follows thereafter is an 85-minute onslaught of politics, racial history and provocation. The audience sit in a clumsy circle on their hot pink chairs. It feels like a town hall meeting - didactic, revelatory and deliberately overwhelming. Through a mixture of recordings and live performance we are educated about what triggered the lootings, arsons and civil disturbances between April and May of 1992.

Four LAPD officers were acquitted over usage of excessive force during the videotaped arrest and beating of Rodney King. On hearing news of this decision, thousands of people rioted over a six-day period. The estimated property damage was over $1bn. More crucially, there were 63 people killed, 2383 injured, and more than 12,000 arrested.

Bowers handles the interview material with respect and surety. The dialogue shocks, humours, and entertains, and her confident delivery style ensures we hear and process every word. Ince's production takes risks and constantly surprises. It's experimental in form and alongside Anna Watson's lighting design; it traps you inside an insanely claustrophobic environment.

Twilight is the mid-point between night and day - it is the limbo period of not knowing what to do next. That's a bit like how you feel after the piece ends. You feel charged, perhaps even empowered, but also somewhat helpless. There's a point halfway through where you're given coffee or tea, and each cup has a quote on it, inviting you to reflect on what it says. Mine had the following:

"We cannot escape the legacies of the past, but we can use them to model our future." - Reni Eddo-Lodge

I now know what I'd like to talk about.

Twilight: Los Angeles, 1992 at the Gate Theatre until 10 February.

Photo credit: Cameron Slater

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