There is a standard moment in umpteen action movies where an apparently ineffectual protagonist turns out to be a master of Kung Fu capable of knocking seven bells out of the villains who have sneered at them. WRESTLELADSWRESTLE follows this tradition combining raw authenticity, autobiographical recollection and fantasy wish fulfilment.
The show is structured as a self-defence class taught by under-50kg British Judo Champion and performer Jennifer Jackson (who co-authored the play). Performer and co-author Simon Carroll Jones is a trooper, opening the show reciting the rules of engagement for class participants and their supporters and, more significantly and selflessly, being thrown to the ground by every member of the extensive Girl Gang of 30 participants drawn from the local area and trained in play fighting.
The show builds gradually, with an initially bare stage unfolding to reveal Isobel Odelola behind a drum kit belting out a thunderous backing for proceedings. Although the show may have introspective elements, the setting is communal and raucous.
WRESTLELADSWRESTLE is inspired by two key events in the life of Jennifer Jackson. One is an amusing anecdote which conceals the subtext of the show. Jackson recalls how she entertained her workmates with a tale of her warning off an aggressive drunken queue-jumper with the advice not to mess with her as she knew judo.
The anecdote illustrates the serious point running through the play: a knowledge of self-defence offers the opportunity to defuse potentially violent situations before they reach a crisis point. Having the option to use the techniques is empowering even if one chooses not to do so.
It is certainly a view embraced by a large number highly enthusiastic volunteers who form Jackson’s Girl Gang, boisterously throwing themselves into the role of class members. It is vividly illustrated by Jackson demonstrating ways in which to reject unwanted and over-refreshed guests from parties. Society’s objectification of women is handled with wit—Jackson demonstrates more aggressive judo throws using not a member of the cast but an inflatable sex doll.
However, Jackson’s motivation to learn self-defence may have a darker aspect. A pivotal moment in Jackson’s childhood was witnessing her petite immigrant mother being racially abused by someone physically much bigger. The event is like a stone in Jackson’s shoe: something she cannot forget and constantly reviews. Her recollection is highly subjective to the extent the gender of the racist is subject to change. Jackson’s recalled response varies from full wish fulfilment—eviscerating the racist with a sword—to less satisfying but equally imaginary verbal put-downs and outright abuse of the racist. Although Jackson is tantalised by the possibility things would have been different had she known judo at that point, she is forced to accept she is not going to achieve the cathartic confrontation she desires.
WRESTLELADSWRESTLE becomes, therefore, not simply Jackson demonstrating ways in which self-defence facilitates empowerment, but also accepting that although the past cannot be changed, it can serve as a means of learning to shape the future, so errors and abuses are not repeated.