Curtain Call: Identity Crisis

Phina Oruche's performance of ‘IDENTITY CRISIS’ in her hometown of Liverpool was nothing short of perfect. Her show was hailed as a masterful blend of humor, self-deprecation, and unvarnished honesty in reflecting on her past. The production promised a cathartic journey which she delivered flawlessly through Liverpool's multifaceted media landscape, brought to life through nine unique characters. Each one wrestled with their personal demons, illuminating the yearning for love, validation, and belonging.

 Phina Oruche's commanding presence on stage, drew the audience into a captivating journey of self-expression. The spotlight that bathed her performance in its glow seemed to symbolize the intensity of the emotions and experiences she shared. one audience member stated. "You were great, Phina! Your story challenged me to ask, 'What do I allow to determine my value?'" Another enthused, "So funny and interesting! I love it!", this shows the profound impact of Oruche's performance.

After the curtain fell, we had the opportunity to speak with Phina about her performance, her story, and the overall feeling of the show. Her insights shed even more light on the depth and complexity of the production, leaving us with a deeper appreciation for the performance and vulnerability she brought to the stage.

Looking back on the performance, what aspects of the production do you feel worked exceptionally well in conveying the intended message and emotions to the audience?

“The performance works because it's simple. It doesn't rely on any gimmicks. It has nine distinct characters. There is a stark background, and there are images that convey others ways of projecting me  - in fashion images that were taken of me by other people and what other people have added to my blackness. The images that the audience responded to are my high-fashion images which is Over a nine-year top-level fashion career, I am then able to break it down. I sit here now and look back at the images over 30 years later. I see The person in the picture, though, was “me”, but it was greatly manipulated by the other people who were generating images from me as the base of being a model. “

Phina added,

“This works two-fold because people are fascinated by the fashion industry and by some of the things I've achieved When they hear me describe moments as they happen. The identity fed upon me, that's not anything near my real identity. I think people can relate to people misunderstanding their identity as they travel through the world.”

Were there any specific moments or scenes that you believe resonated particularly strongly with the audience? What do you think contributed to their impact?

“The audience always seems to resonate with me when I first introduce the mother character because she's strong, defiant, funny, and will go to battle for me, which can be embarrassing for a young person to deal with. So, I always get a lot of laughs when I introduce the mother figure. The performance was enhanced because it was in Liverpool. Speaking as a Scouser who's traveled and traversed the world and now back home with fellow Scousers, all the jokes, the Scouse humor, and the way we tell stories really come alive around these people.

Then, of course, that can be a double-edged sword. It's terrifying that there are people who actually physically know me, people I live Cheek by jowl with , you then feel honoured that they're actually there and have come out to support you. There is a moment when you first stand on the stage and see the crowd, and you think, "I really have to do this in front of these people." So that in itself was quite daunting. Fortunately, the jokes, the characters, the insanity, and the physicality of the play - even with children in the audience - still resonated with them, which was a pleasure for me. I wasn't sure if they would get it, but they did.”

Phina found unexpected enrichments in the latecomers to the performance. Their arrival provided opportunities for interactions and audience participation, enhancing the overall experience. This newfound element of engagement is something she plans to incorporate into future projects. As Phina explains 

“One of the things that enriched the performance that I didn't realise was the latecomers. Normally, you don't want to be interrupted, but people came in late, and me getting them seated allowed me to drop one-liners and throw out things. My director told me that there was much more audience participation last night than he's ever seen me do. It's probably because they were a bunch of Scousers, and I believe at least 30% of the audience I knew. I was just wowed by the love in the room. I suppose the feedback I've received has been quite positive.”

Were there any challenges or moments during the performance where you felt that the intended message or emotions might not have landed as effectively as you hoped? If so, can you pinpoint the factors that contributed to this?

“One of the most startling things is that a man came all the way from London to see me in a play in Liverpool on a Sunday night. That is incredible. Moments that I wasn't sure were going to land, and that I always have trouble with, is the opening. I'm standing on a stark stage, describing what happened when my niece passed away, holding, waiting for two or three people to start. So it didn't start on time. That meant that my initial prep that I was comfortable with was disrupted. When I first went out, I felt a bit spaced. I remember speaking to one lady in the audience in character, which kept me going, and from there, I kicked in. So what I'll carry forward is more audience interaction. It kind of keeps the whole thing alive and makes it more engaging.

In terms of the overall reception and audience feedback, are there any moments or aspects of the performance that you plan to carry forward into future projects or productions?

At one point, I sat next to a lady in the audience who I know quite well. I picked her on purpose, and I could feel her trembling. She was so excited, but at the same time, she was kind of like, "Please don't talk to me, don't touch me." That was very funny. I think I'll keep that for the future, as Identity Crisis is twofold. Somebody from London has already asked me to take the play there. I plan on taking it to New York City, and I'd like to film it to create a Netflix-style presentation. That would be my ultimate goal.

Phina's performance in Identity Crisis has paved the way for future Plans to take the production to London and New York City are already in motion, with the ultimate goal of creating a Netflix-style presentation. Additionally, Phina is collaborating with fellow artist Alicia Eyo on a new project, further exploring themes of identity and self-expression.

Phina Oruche's performance of Identity Crisis showcases the power of raw emotion and personal resonance in storytelling. Through simplicity and authenticity, Phina skilfully navigates the complexities of identity, leaving food for thought on her audience. As she continues to embark on new projects, her work promises to provoke thought, inspire dialogue, and challenge perceptions of self.

Written by, Meg Kay & Amy Brennan

Edited By, Christopher Woodward