The threatening teddy bear in the Home Office
The cast of Can’t See For Looking - Fanos Xenofos, Margarita San Luis, Ericka Posadas, Rania Kurdi,Laura Fitzpatrick: Photo: Steve Gregson
Daniel Nelson
A teddy bear looms threateningly over Can’t See For Looking, a play about human trafficking.
John McKenzie is about to interview an asylum applicant.
“The woman I’m about to interview is from The Philippines, which is considered a safe country,” he explains to the audience at The Cockpit theatre, “so see what you think - and don’t be too soft. We have a bit of a joke in the office — if you’re seen as too soft you’ll find the office teddy bear on your desk.”
Carolyn Lloyd Davies’ cleverly written, movingly acted play charts the ups and downs of his interview with Rosa dela Cruzos, which is partly a sort of courtroom drama as the naive Rosa and her cautious interrogator battle it out.
Davies and Filipina co-creator Franchezka Cunanan skilfully draw out the subtleties of how and why Rosa came to the UK, setting out excitedly with the Fresh Start Employment Agency as a nanny to a wealthy Gulf family and ending up trapped as a slave in London.
Occasionally, Rosa steps out out of the bare interview room to address the audience, describing in detail the highs and lows and nuances of her journey — and her escape, thanks to fellow Filipina Angel, herself a former slave, and a group dedicated to improving the lives of Filipino domestic workers in Britain, 95 per cent of whom are women. But even after her dash for freedom Rosa continues to be entangled in Home Office procedures.
There’s a huge cultural gap between the version of events of a young, unworldly, often frightened Filipina and the literal-minded immigration officer, trained to spot applicants coached to give the “right” answers: “I’ve had two cases in the past year and felt a complete fool when I realised the stories they told were made up…I have to assume they’re lying. It’s harsh but the only way to get at the truth.”
He’s sometimes frustratingly obtuse when trying to assess Rosa’s motivations and decisions, and her relationships with her own family and the family who own her. Rosa sometimers lies and is evasive, but has reasons for doing so, even if McKenzie doesn’t always understand why.
Two other sharply drawn characters add to the piece’s power: Nura, the martinet mother of Rosa’s employer, who runs the household and whose pride in being guided by her religious faith does not embrace non-Muslim servants; and Hetty, the cut-glass British chairman of the Expats Social Club.
Nura can’t see herself for looking: Hetty can’t see beyond wealth and status. Nura is the obvious baddy, being directly responsible for Rosa’s appalling treatment. Hetty finally gets a tongue-lashing from the angry Angel - the only character who both looks and sees.
This is theatre that’s political and personal, with great characters, with drama and humour.
Outstanding.
* Can't See For Looking, £20/£15, is at the Cockpit Theatre, NW8 8EH from 18 October until 4 November. Info: https://www.thecockpit.org.uk/show/cant_see_for_looking
During Davies’ research for the play, information was provided by Nicola Bell, Oxford’s Anti Modern Slavery Co-ordinator, Dame Sarah Thornton, recently retired Home Office Modern Slavery Commissioner, and the Filipino Domestic Workers Alliance in London.
Useful organisations:
+ www.livingthedrama.co.uk
www.kalayaan.org.uk