Ten Days at the Space attempts to be as radical as the Russian Revolution

We may be living in revolutionary times. Extinction Rebellion are taking to the streets to prevent a climate catastrophe and the amount of workers on strike has not been this great in 50 years. It’s only natural that this potentially revolutionary moment is reflected in art.

This is why I was excited to see Ten Days, which recently finished its run at The Space theatre in the Isle of Dogs, a play that shows the revolutionary possibilities of the present by connecting now with the most famous revolution of all: the Russian Revolution.

The play charts the ten days that led to the Bolshevik’s revolution in Russia in October 1917 (by the Julian Calendar used in Russia at the time). It’s based on the account written by American journalist John Reed, who had an astonishing level of access to the senior people behind the revolution at that crucial time. His account is the most compelling and comprehensive of those fateful days that shook the world.

A radical approach to theatre

This new stage adaption of Reed’s book was written and directed by Matthew Jameson and performed by BolshEpic Theatre. It attempts to be as radical in its approach to theatre as its subjects were in their approach to politics. This included pay-what-you-are-able pricing and means to draw the audience into the radical events of the play (more on that later).

At nearly three hours Ten Days is a long production, but it’s still a condensed version of the events leading up to the revolution. Jameson himself plays John Reed and moves through the action to narrate events. Jameson made the sensible decision to cut many of the long speeches that Reed reproduced in great detail, which gives the play a fast pace that helps offset its long running time.

Many short scenes keep the drama focused on the narrative of a country hurtling toward revolution and the small cast cope well switching between different characters and locations with minimal set and costume.

The appeal of the Bolsheviks

The production’s great strength is how it captures the rising tension as the situation escalated in St Petersburg in 1917. You feel the growing frustration as the unpopular provisional government continued to prosecute a disastrous war whilst failing to deliver meaningful improvements in living conditions. This caused the Russian people to look to Vladimir Ilyich Ulyanov - aka Lenin - and the more radical Bolsheviks - who offered peace, land and bread - as the solution to their problems.

The play captures the frantic feeling of those crucial days, as Reed does in his book. Ten Days is filled with the possibilities of radical change following the February Revolution that many felt had not changed Russian society enough. Frenetic uncertainty was seized by the Bolshevik’s to lead a second revolution in only a few months.

This is mainly achieved through a strong script and a series of great performances, notably Matthew John Wright as Lenin and Oyinka Yusuff as Leon Trotsky who form the core of the play. With many cast members assuming many different roles of both historic figures and representatives of broad social groups, it helps to have these two actors as anchor points portraying the two most important people in the story.

Bringing the history to life

As well as capturing the mood of the time in an entertaining way, there are lots of small details in the play that go beyond Reed’s book and show that Jameson knows his subject matter. All of the key factions and historical figures are included, which is a lot of people for a small cast to represent.

Many important historic details, which less well researched accounts overlook, are included; such as the February Revolution beginning with women marching on International Women’s Day, or the fact that the storming of the winter palace was more of a quite creeping in through a backdoor than the spectacle staged by Sergei Eisenstein in his film October: Ten Days That Shook the World.

The play also includes many of the comedic moments of the revolution; such as Lenin’s enthusiasm for disguises, the delay in beginning the October Revolution that was caused because a comrade at the Peter and Paul Fortress couldn’t find a red light to signal the Bolsheviks and Kitchkin declaring himself leader of all of Russia when he barely controlled the Winter Palace in St Petersburg.

Modern parallels and modern culture

The radical history is very entertaining, but to become a transcendent work of art this needs to connect with how the audience feels right now. Many modern parallels are drawn out; from strikes, a cold winter, inflation, a useless and unpopular government and above all a feeling that everything is getting worse, everyone has had enough and change is needed.

Modern language is used in the script to reinforce the point, such as references to “snowflakes” on the left or fighting in Ukraine. Recent dance music was played in the intermission, whilst a video was projected onto the stage approximating how cable news would cover the fateful ten days if they were happening right now. Following the climax, the cast exited to the sounds of Pig With The Face Of A Boy’s Complete History Of The Soviet Union, Arranged To The Melody Of Tetris, which ended proceedings on a humorous note.

Rising to the revolutionary moment

Not only did the play attempt to make its radical themes relevant to the modern day, it also attempted a radical use of the medium of theatre. Red flags were handed out to the audience, who were encouraged to wave them, participate in the chanting and to keep our phones on to take pictures during the performance.

The audience (at least at the performance I attended) didn’t rise to the revolutionary moment. We behaved like a traditional audience, watching events in silence and not participating. The fact that the people were hesitant to act when presented with something radical was itself a more powerful metaphor for the present political situation than the historic parallels that Ten Days drew out.

Are we ten days away from a revolution?

Despite the audience not embracing the more radical parts of the show, I was impressed by Jameson and BolshEpic Theatre wanting to create a piece of art that captured (the spirit at least) of the revolution in avant-garde art that was unleashed by the Russian Revolution. Their imagination and creative use of a small theatre, minimal set and props is inspiring. Revolutions, artistic and political, come about by radical ambition and it was great to see this alive in the 21st century.

Ten Days is a great dramatic play about a key moment in 20th century history. It is more than an entertaining retelling of historic events. This play is urgent, relevant and has something to say about contemporary politics: i.e. when people are suffering we may only be ten days away from a revolution.

Monument to Lenin image created by Watchsmart and used under creative commons.