(Can This Be) Home

(Can This Be) Home

28/03/19

Writer/performer/poet Kolbrùn Björt Sigfúsdóttir fully expected her extended examination of the Brexit conundrum to have reached some kind of a resolution by now – it is after all, the night before the UK is scheduled to leave the European union – but the slow separation lumbers inexorably on, with nobody any the wiser.

Icelandic by birth, Sigfúsdöttir has lived and worked in the UK for five years now and is understandably concerned about what’s going to happen to her ability to travel and work in Europe after Brexit has changed the rules. (Can This Be) Home is essentially a series of poems about what it means to be an immigrant, though it should be said, that she’s speaking from a fairly privileged point of view, something that she really only acknowledges in her final (and most successful) poem.

Her readings are counterpointed with short pieces by musician Tom Oakes, who plays a wooden flute and a stringed instrument that, to my untutored eye, looks like a lute crossed with a guitar. Tom features a nice line in anecdotal patter and his observation that it’s hard to write a protest song when you’re an instrumentalist gets the evening’s biggest laugh. His musical influences come from all over the world, but particularly from the Scandi-regions where he has often been based – so he too is waiting for the results of Brexit with some apprehension.

While Sigfúsdöttir recites her work, Oakes immerses himself in a book, and while Oakes tootles his flute, Sigfúsdöttir models house-shaped images from what appears to be a mixture of sand and putty. This pointed ignoring of each other’s efforts is obviously intentional but I would actually like to see them combining their respective talents to create a more cohesive whole. It’s also true to say that tonight, at the Traverse Theatre, the two performers are pretty much preaching to the converted. I doubt there’s a single person in the room who actively disagrees with what they are saying.

The result is therefore a strangely muted affair. It would be very interesting to see this performed to a more partisan audience, one featuring people with an entirely different view of the Brexit situation. As it stands, this feels a little too comfortable, a little too lacking in fire and urgency.

3 stars

Philip Caveney