Review of SPID’s ‘Yes, I Am’: “Socially concious show puts the spot on relevant themes but keeps theatricality in the shadows”

London’s Riverside Studios celebrates the company’s two decades onstage through this one-woman show connecting audiences with its legacy and altruistic mission. Guillermo Nazara shares his views on the show — to let us know if its intentions of serving the community are as solidary to a paying audience.

A few weeks ago, I conducted a Q&A with Broadway composer Stephen Schwartz for a course analysing his oeuvre. When we opened the chat for the students’ questions, one of his replies struck me. “I don’t believe art can change the world”, he said. Defenders of the opposite concept have bombarded me throughout my whole life — they purvey a romanticised portrayal, which presents it as the most powerful means to change things for the better. And there I had one of the most influential writers in musical theatre history debunking, in some way, what’s probably the most efficient marketing tool our guild has ever coined. Of course, such a blunt statement came with a catch — or clarification, if you prefer. Art may not have the strength to turn the universe around, but as he so wisely put it, it can encourage individuals to do the job.

The hopes for a more caring, equal society, where everyone lives with dignity and to their full potential, are the driving force behind Helena (forbidden word) Thompson’s autobiographical solo performance, Yes, I Am. Allegedly a show but closer to a Ted Talk-style conference, the piece takes audience on a twenty-year journey (condensed into 60 minutes, for those beginning to sweat) throughout the trials and tribulations of her theatre company, created for the sake of making a difference in the community, and in that effort, bring a strong sense of togetherness, sympathy, and compassion among everyone involved.

It’s a pet on her own back that, however, doesn’t come across as unjustified. In a time when younger generations are facing one of the biggest housing crises in decades, a company that has continuously tackled the problem and used its productions to push for a solution doesn’t deserve anything but praise. The resonance of its message is undeniable. Yet, the effectiveness of its delivery is more debatable, at least from a dramatic perspective.

With a linear approach to the story, the narration makes a decent effort to maintain the engagement throughout. However, the merit stems from its contents rather than its form. Overall, it feels a little too rough and underdeveloped — knowing what it wants to say but not as confident about how to say it. The staging passes over too many possibilities to explore the text’s theatricality, coming off as a random gathering where someone spontaneously makes a long speech about their mission, but lacks the resources to build the universe it takes place in.

One may argue that that’s precisely the show’s sole goal — to avoid anything remotely traditional, and to defy the boundaries of the performing arts in a similar way that it defies the establishment. It’s a fair point, but not entirely valid. Despite the actress being the real-life character and her recount completely authentic, there’s still a lack of connection pulsating through the entire performance, never projecting a phoney sentiment, but struggling to trigger the emotional stir you would expect from a play that stands up for social awareness — and whose impact on the viewer couldn’t be more crucial.

Parting from a laudable cause but unable to channel it through a compelling execution, Yes, I Am still presents us with a thought-provoking experience, whose themes and intentions will surely touch more than one heart through its celebration of solidarity, unity, and cooperation. With the right tweaks, the piece could evolve beyond its so-far exceedingly niche appeal — and ultimately inspire a broader audience with its call to action. It’s not until you understand the rules that you can finally break them.

SPID’s Yes, I Am plays at London’s Riverside Studios until 6 September. Tickets are available on the following link.

By Guillermo Nazara