
Review: A SOCIETY (FOR THE CUTTING UP OF MEN), VAULT Festival
It theorises a world where all power is given to women.
"To call a man an animal is flattering". A certain type of person will not like A Society (For The Cutting Up Of Men). Delightfully anti-men, it calls them "a deficient disease" and "an ineffective lump". Directed by Dan Carter and presented by the Network Theatre Company, it makes a glorious mockery of the patriarchy, theorising a world where all power is given to women. It's a direct critique of capitalism as a man-powered tool for submission.
It's quite annoying that there's so much greatness in the rubble. Right after a weak, redundant first act where women of the past decide to travel the world and study their counterparts in order to find a solution to their oppression, they finally gets into gear. They want to know if it's worth continuing the human race.
It should all be a parody, but the two parts feel like different plays. They don't complement or compliment one another. The second part is where it's at. The women are now out for blood. Dressed in a black uniform, what previously was a mere meta-theatrical interjection takes over the play, turning it into a TED Talk-type thing wired as a call to arms. The satire comes into itself in an engaging, precise commentary on the patriarchal system.
It becomes more and more evident that we don't need the traditional conventions displayed at the beginning (just like we don't need men). While these additions are probably meant as a visual juxtaposition against the minimalist, more blunt and hands-on approach of the climax, the start is unnecessary. It nearly drives the show to the ground before it's even started.
Thought-provoking observations on the dismissal of female pain, internalised misogyny, the pandering to the male gaze, and all points made by intersectional feminism carry the discourse towards a radical, uncompromising, blissfully bleak worldview. The reasoning is deliberately extravagant and extreme to drive their point. More of this, please.
A Society (For The Cutting Up Of Men) runs at The Network Theatre as part of VAULT Festival until 5 February.
From This Author - Cindy Marcolina
Italian export. Member of the Critics' Circle (Drama). Also a script reader and huge supporter of new work. Twitter: @Cindy_Marcolina
... (read more about this author)
March 30, 2023
Silvio Berlusconi. Il Cavaliere, the knight. Entrepreneur, television mogul, right-wing leader. Famous for his scandals, fraudulent deals, chummy attitudes with despots and other questionable figures. Cruise ship singer. Laughing stock and controversial political powerhouse. Does he deserve a musical that glamorises his exploits and explains his side of history even though we’ve heard nothing but? He doesn’t, but you can leave it to the English to try and fail to spin a tale of power misuse and faded grandeur into a feminist elegy. The award-winning producing team behind Fleabag want to paint the Italian tycoon from the eyes of the women he abused. Written by Ricky Simmonds and Simon Vaughan from an original idea by Alan Hayling, it’s unnecessary and so lacking in politics that you come out of it having learnt very little about the protagonist except that he gets away with it.

March 29, 2023
Set on a housing estate in South London, the piece sees two brothers being sent out to the shops by their mother. Yemi was born and raised in England while Ikudayisi has just moved from Nigeria. The cultural clash is striking and, while the text has been slightly modernised with coups like the addition of face masks, 15 years are a long time and the racial discourse has somewhat become more sophisticated since then.

March 26, 2023
Jordan Harrison’s 2015 Pulitzer Prize finalist is a reflection on mortality that doesn’t dare to go into the depths of the matter. It ends up being rather stagnant philosophically and anthropologically, but Dominic Dromgoole’s latest production is a delicate take. Running at 85 minutes on paper but around 70 in reality, the piece’s greatly sophisticated performances and sleek look save it from its redundant nature.

March 25, 2023
Running at around 50 minutes, it’s snappy and positively Gen-Z in pace and subject. Fernandes crafts a script that wanders from deliciously colloquial to slightly expository, but remains solid throughout.

March 19, 2023
While the writing is gripping and Gabrielle Nellis-Pain’s performance is excellent, there’s something missing. Catherine’s colleagues are ancient ghosts through the hallowed corridors as she puts on a sleazy, raspy voice to portray them against her well-spoken main character.