Georgia Sawyer’s Mankind is a modern adaption of a medieval morality play which, in its original context, was designed to instruct its audience in appropriate Christian behaviour. It is peopled with a wide variety of allegorical figures from the austere Mercy (Tom Bishop) who offers Mankind (Matt Monaghan) the chance for redemption while the forces of temptation including the devil Titivillus (Eva Tausig) try to bring about his damnation.
While this would seem to suggest a strait laced moral lecture the theatrical experiance is almost manic in its variety and vivacity. The whole production is charged with intense passion for the subject matter and determination to bring it to life for a modern audience. While the evil creatures Newguise, Nowadays and Nought are on the stage the action relies heavily on the simple, physical comedy of the pantomime and barely a moment passes without a bawdy double entendre, a suggestive pelvic thrust or a knowing wink. Live music is constantly woven in and out of the play and is performed with aplomb by the cast and the motion of the characters on the stage always borders on dance, in line with their allegorical natures each moves with a sense of deeper purpose: the devils low to the ground, Mankind uncertain yet sensitive, Titivillus langorous and sensual and Mercy with his hands firmly clasped in prayer.
The set and costume reflect the stark moral landscape through which the play moves, with little ostentation either with props and all the characters dressed in black and distinguished only by their shoes. All of these confusing factors taken together add up to a deliciously various but slightly chaotic product. The play is signposted as ‘high art’ through the doffing of costume in favour of black clothing yet seems to rely heavily on the ‘low art’ techniques of pantomime and burlesque. For me this juxtaposition felt interesting but I could equally see how it could infuriate someone with strict ideas of theatrical propriety. Mankind represents an authentic gesture towards a different sense of theatre, one where the lines between audience and actors are thin and often crossed- the smoke filled atmosphere of the medieval tavern perhaps or the wagon of a band of travelling performers.
