Bristol-based theatre collective The Wardrobe Ensemble have been winning plaudits and delighting audiences across the UK with their brand of theatrical ingenuity and irreverent humour. As their acclaimed show 1972: The Future of Sex is published alongside its revival at the Bristol Old Vic this month, ensemble member Tom Brennan explains how the show was conceived and developed, while below, Musical Director and Composer Tom Crosley-Thorne reveals how he raided his parents’ vinyl collection for inspiration…
‘Mum, when did you first have sex?’
We began making this show under the working title The History of Fucking in the autumn of 2014 at Shoreditch Town Hall. We were feeling pretty uncomfortable about the state of sexual politics at the time and wanted to know how we had got to where we were. In those first two weeks, we generated mountains of material. We researched, read, interviewed our parents (see above question), improvised, danced, played and talked. We talked about history, change, gender, identity, choice, equality, power, porn, love, sex, sex, sex. We talked about the inequalities present in our rehearsal room. We felt vulnerable and dangerous. We felt confused.
When we first performed the show over the summer of 2015, I was surprised by a particular response. Often audience members who grew up in the 1970s talked to us after the show about how recognisable and real the world of the play felt to them. They would ask us how we knew what such and such an experience was like, or how we’d managed to make it feel so real.
Yes, we did a lot of research into the specific cultural landscape of early 1970s Britain, to make it feel grounded. We made long lists of seventies’ artefacts and cultural relics. We were aware that the era is often depicted in either depressive social-realist hues – a sad vista of strikes, poverty and civil unrest – or as a psychedelic orgy of philosophising hippies and social rebellion. But our conversations with our parents led us to find another reality: a generation of young people who (much like any other generation) felt like the party was happening in another room. Their imaginations were perhaps sparked by reading The Female Eunuch or seeing Bowie as Ziggy Stardust on Top of the Pops, but the vast majority of young people weren’t about to join the revolution, however much they wanted to. Instead they were trapped between the future and the past. They were caught between a desire to become that gorgeous butterfly, and the harsh reality of still living as a very awkward, very confused caterpillar.
Feeling painfully awkward and self-conscious about sex as a young person is a pretty universal human experience. And I imagine that’s why audience members felt connected to the show, whether they’d grown up in the 1970s or not. We were tapping into something everyone experiences.
We also made an important decision to build the world of the play around spoken narration. Words are a fantastically useful tool, because they suggest rather than prescribe. Spoken narration is open to interpretation; it allows each and every member of the audience to fill in the blanks with details from their own life. So, for instance, when one character in the play watches a porno, it becomes you watching porn for the first time; when two characters kiss for the first time, it becomes your first snog on a scuzzy dance floor somewhere. In the most powerful moments, the set, the performers and the story all combine to become a conduit for your own personal reflection. As Virginia Woolf said, ‘Words do not live in dictionaries, they live in the mind… full of echoes, memories, associations, naturally. They’ve been out and about on people’s lips – in the houses, in the streets, in the fields, for so many centuries… stored with other meanings, with other memories’.
For anyone interested in putting this play on in the future, I’d encourage you not to overcomplicate any aspect of your production, nor to prescribe too heavily its emotional or intellectual meaning. I’d encourage you to allow space for the audience. Try not to judge anyone, even the least appealing characters. I’m proud of how open this show is. Most importantly, it’s accessible to people from many different generations. And it’s from this place of openness that we can acknowledge our collective confusion – and begin to talk. It seems to me that confusion is the inevitable and appropriate state to be in when talking about sex. Nothing else is true, or honest. So let’s be willing to be confused – let’s be as open, honest and welcoming about our confusion as possible.
Peace and love, dudes.
Musical Director and Composer Tom Crosley-Thorne on the musical influences behind the play:
Music is integral to this play. Before 1972: The Future of Sex, The Wardrobe Ensemble had always made their own music. But for the sound of the 1970s to be ingrained in the play, the group felt they needed to bring in someone external. As a gigging musician I came from a performing, songwriting and music-production background, composing in various styles for live bands, recording artists and short films. But this was my first production.
I was brought in for the first stage of the research and development process at Shoreditch Town Hall. During this time I was introduced to the devising process. It was a fast-paced room where anyone could write, perform or collaborate on anything. Things would get thrown at me, from Al Green to Ziggy Stardust. There was no time to be precious and at the end of each twenty-minute session you had to share. It was a fortnight of wah-wah guitar, space hoppers and glitter.
The process also brought up some challenges: What makes a song sexy? What is the sound of the seventies? How do I steer clear of pastiches or clichés? And how do I perform this music on my own? So I began by asking my parents what music they’d listened to in the seventies and what it meant to them. Out came their old vinyl collections: James Brown, David Bowie, Earth, Wind & Fire, Mott The Hoople, Commodores, The Temptations, Parliament, to name a few… The music evoked a feeling of revolution. It is proud, fun and exciting. It is guitar, bass and drums. It is speaking for what you believe in and saying it simply.
It soon became clear to me just how much this iconic era changed the sound of music today. I was enticed by the simple instrumentation of the early funk records, so I decided that I would set myself the limitation of using only electric guitar, bass, keyboard and drums. It was very important to the group to have a musician onstage as it gave the show a particular live energy in having all of us make everything between us. So I performed lead guitar on top of backing tracks that were sequenced onto a loop pedal. The only music that I didn’t compose is that of the late great David Bowie, as I wasn’t going to do it justice. So there I was, with an electric guitar in one hand and a pedal board in the other, wearing bell-bottom jeans, about to perform 1972: The Future of Sex for the first time. I can still hear my excitement when I listen to the music now.
You can listen to a sample of the music for the show at: www.soundcloud.com/1972thefutureofsex
This is an edited extract from material accompanying the playscript in 1972: The Future of Sex, published by Nick Hern Books on 2 May 2019.
To buy your copy for just £7.99 (20% off the RRP of £9.99), visit the Nick Hern Books website. The Wardrobe Ensemble’s 2017 show Education, Education, Education , revived at the West End’s Trafalgar Studios from 31 May 2019, is also available.
1972: The Future of Sex is at the Bristol Old Vic until 11 May 2019.