Home ARTS & THEATER How To Recognise Us? The Foreign Women In London: Theatre Review Of “Don’t Get Me Wrong”

How To Recognise Us? The Foreign Women In London: Theatre Review Of “Don’t Get Me Wrong”

by Ohio Digital News

The latest statistics from the Centre for Migration Control reveal a staggering influx of international students, with a reported 787,000 individuals enrolled across the UK in 2023. After their graduation, they work very hard as foreigners to stay in this country. Amidst the bustling metropolis of London, a group of aspiring theatrical talents (Kelly Guibal, Flavia Di Saverio, Thelma Osorio Euan, Maria Luc, Hana Tamaru, Arianna Folini) took to the stage at The Hen & Chicken Theatre in March 2024 to present their musical production, “Don’t Get Me Wrong”.  Through their performance, they delved into the intricate tapestry of challenges and joys experienced by those navigating life in the vibrant yet daunting urban landscape of the UK’s largest city.

The narrative unfolds with two young women, Laura (Kelly Guibal) who is French and Giulia (Flavia Di Saverio) Italian, ensconced in their living room, engaging in candid dialogue about the emotional rollercoaster of dating. For foreign women in the UK, the pursuit of romance is a bittersweet journey fraught with moments of elation overshadowed by lingering insecurities and self-doubt. The scene reaches its crescendo with a stirring musical interlude, articulating the poignant sentiments of estrangement encapsulated by the refrain, “I’m 100 miles away,” symbolizing the profound sense of displacement experienced by foreigners in unfamiliar territory.

Subsequent scenes unveil a spectrum of challenges faced by Mexican Nicté (Thelma Osorio Euan) and British Japanese Alisa (Maria Luc), each grappling with their unique trials amidst the backdrop of exorbitant living costs. Sharing accommodation emerges as a pragmatic solution, yet within the confines of communal living, disparate struggles emerge. From Nicté’s narration of job prospects and visa hurdles to Alisa’s stoic confrontation with familial pressures, each of them underscores the resilience demanded by life in the land that does not belong to them.

A spirited debate over food culture between the Italian and French cuisine in Scene 3 serves as a poignant allegory for the enduring quest for connection to one’s homeland amidst the culinary clash. Scene 4 culminates in a powerful solo performance by Japanese Sachi (Hana Tamaru), laying bare the relentless determination of foreigners navigating the labyrinth of adversity. “Show them through your attitude that you are useful,” echoes the overarching theme, encapsulating the indomitable spirit of those striving for recognition in an unfamiliar milieu.

The play ends up in beautiful music and heart-touching narration of the Piano Girl (Arianna Folini). The production culminates in a symphony of hope, as the diverse ensemble of women, hailing from disparate cultures and backgrounds, find solace in their shared journey. Despite the myriad challenges they face, their unwavering optimism serves as a testament to the resilience of the human spirit, reminding us that amidst life’s trials, hope endures.

This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.

This post was written by Xunnan Li.

The views expressed here belong to the author and do not necessarily reflect our views and opinions.

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