Clips from the Barber Shop Chronicles

I was born and raised in Cape Town, South Africa. When I was 17 years old, we relocated to Australia and I haven't been back in 3 years - until now. 

The Barber Shop Chronicles made it's way from The National Theatre in London to Perth International Arts Festival this summer, and graced The University of Western Australia's Octagon Theatre with it's colourful presence. Written by Inua Ellams, directed by Bijan Sheibani and designed by Rae Smith, this journey across six cities tells stories of cultural similarities across borders and the strength of the relationship between a father and son, passed down from generation to generation. 

Stepping into the space, I was immediately transported back to days of driving through down town South African cities, where telephone wiring strung across streets is as abundant as fairy lights in Debenhams around Christmas time. These act as links to the various Barber Shop 'Billboards' if you will - a series of signs from Barber Shops across Africa and the UK are placed above the stage and when we enter the location of each of those, the billboard is illuminated. Transitions are also further indicated through a large wire framed globe, suspended from the ceiling. As the scene changes, the wired globe lights up highlighting the different relevant continents, creating a relationship between the large scale scenes and the smaller intimate scenes. 

The set is comprised of a series of barber chairs and tables on wheels, incorporated into the choreography of the dances that take place in the various scene and location changes. The eclectic selection of furniture doesn't add to an overall chosen or 'designed' palette, together they create a feeling of diversity and scale - relevant to the thematic contents of the play. However in the setting of each separate barber shop, these furniture pieces make sense and give a sense of place, whether it be related to monetary or cultural elements. The central location for the story to unfold is set in Peckham, South-East London. Here we see the largest, most prominent billboard set against a fenced wall, indicating the socio-economic context of the shop. The other barber shops flow in and out of this location, set apart by identifying elements and characters such as a power-generator in Lagos or a drunken father in Johannesburg. The fluid nature of the set enforces the story as the blur between country and culture is equally as variable therein. 

The warmth created through not only the storytelling and superb acting, but also through the welcoming and familiar set design was evident in the audience participation throughout the show, clapping to the beat as actors danced, marked very clearly by the standing ovation at the end. 

I made an appointment at my hair salon shortly after.