Hannah Walker is a performance artist who’s newest production, Gamble, dramatizes the ‘timeline of her relationship with gambling’ through a series of ‘mini response performances for each memory’. The story begins with her very own teenage foray into bingo on a Friday night, as well as triumphs on the local pub’s fruit machines and itboxes with a ‘Hairy Man’ who later became her husband. What follows is the story of how this remains an occasional dalliance for many to let go at the end of a busy week, but for others including Walker’s partner, it is more complex than that. In an age of increased digital accessibility and ubiquitous advertising tactics, gambling became a complicated constant for the couple, providing highs such as luxury spending sprees and holidays financed by big win payouts, but also the lows of navigating financial losses whilst raising a newborn.
Walker, along with BSL interpreter Faye Alvi and the show’s co-creator Rosa Postlethwaite, switch between narrative voices and characterizations of her younger self and partner to depict the emotional journey, and the rippling impact of problem gambling. The dramatized tone throughout is a mixture of jovial and obnoxious, repeatedly including narrative intrusions that describe Walker with elevated, fairytale-like imagery. Musical interludes are also interwoven into the narrative, from an original number about the cushy matching Smeg appliances afforded by her partner’s winnings, a rendition of We’re Going to Ibiza by the Venga Boys to represent, well, a trip to the Mediterranean island, and a slow dance to Can’t Help Falling In Love after an honest conversation with her partner. The choreography involves a lot of awkward shuffling and the vocal performances sometimes lack full commitment, which enables Walker to ground her performance strongly in reality and communicate the complexities of wrestling for a narrative that is simultaneously filled with so much pain, but also love, connection and compassion.
Alongside this, Walker’s story is contrasted with a glittering construction of a hypothetical gambling site, akin to many that have become all too accessible in recent years. Foregrounded by the triumphant belting of ‘This is the Greatest Show!’ that opens the show, along with the teeming grins of Walker and Alvi as they hand you a sparkling glass of prosecco upon entrance whilst clad in their dollar bill suits, an atmosphere similar to that of a night-at-the-casino is created. This is extended further by a mixture of flashy on-screen animations and a catchy theme song that is repeated disconcertingly throughout the show, working in a complete juxtaposition to the tender moments of Walker’s story. Amongst the bold promises of glitz, glamour and ‘R I S K’ that are boomed out and splashed across the screen, the performers also mutter rushed legal caveats and a winding rendition of the terms of agreement. The sickly-sweet reassurance that ‘You’re safe!’ in the theme song rings hollow alongside the true story of addiction, and emphasizes the unforgiving and relentless nature of the gambling industry.
Moreover, a spontaneously framed crew sweepstake reinforces this idea, with cast member Postlethwaite seemingly ‘winning’ the opportunity to gamble her share from the show right then and there. She is plucked from the audience as if it is her lucky day, and ushered to sit in front of a camera and indulge in an online gambling app, her phone broadcast on the screen for all to see as Walker’s story continues. Building this stark juxtaposition demonstrates the accessibility of online gambling that can begin with a few monotonous clicks on a phone screen, but also highlights the fact that individuals can have an awareness of these dangers and negative impacts, with Postlethwaite even standing in to play Walker’s husband throughout the performance, and yet still be vulnerable to the digital accessibility of these gambling websites. It is a cycle that Walker’s family were fortunately able to break, but one that can begin or restart at any time as a result of industry marketing and tactics. It is no individual’s fault, Walker makes clear: it is not a personal failing and ‘has nothing to do with someone’s character’.
As well as its creativity, the show is also inclusive, through its integration of BSL from start-to-finish. Onstage, Walker is joined by Faye Alvi, a BSL interpreter and actor who not only enhances inclusivity for audience members, but also bounces off Walker’s narrative and provides effective comedic relief. Moreover, the integration is continued during the show’s second half discussion, allowing for inclusivity to be present in all change-making aspects of the show. Walker details her motivations for this level of integration, calling for the de-stigmatization of gambling addiction within deaf people, with research in The European Journal suggesting a higher percentage of hard-of-hearing groups developing gambling tendencies than peers who are not. In her own words, Walker says that her research ‘found that many people experiencing addiction who are BSL users often struggle to access support’ and thus she opens up various elements of her play for increased accessibility.
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| Shoot Festival 2022. Photography by Andrew Moore |
As mentioned, the show is followed up with a question & answer session with Matthew Gaskell, consultant psychologist and Clinical Lead for the NHS Northern Gambling Service. Sharing insights from his work and community engagement, Gaskell’s involvement in the show reaffirms the serious message that lies behind the glitzy, glamourous and garish theatrics of the first half, and therefore is an impactful and well-balanced addition. Along with a coffee and cake session offered on the following morning, the creative team demonstrate not just consideration, but more importantly a dedication to the creation of relaxed and open spaces for discussion. Whether it is for people who have been directly affected by any level of gambling addiction in their lives to share their experiences and break down feelings of shame, or for less familiar audience members to learn, this is a positive and constructive addition that enables shared or different perspectives alike to be communicated in a validating and shame-busting way. For example, in the discussion session at my particular show, some of my key takeaways were the fact that the Gambling Commission is sponsored by the Department for Digital Culture, Media and Sport, as well as that a significant amount of research into problem gambling is funded by the industry itself and collected by a ‘voluntary levy on companies’, both of which point to the way in which narratives of gambling are controlled, stigmatized or unacknowledged for the serious health implications the industry can have. Ultimately, it is by creating these spaces of community that shame can be dampened and narratives of individual fault or blame can be lessened by showing people they are not alone, and gambling addiction is a complex result of many different factors. As Walker also noted in the session, her creative team look forwards with a vision to adapt and evolve this show for new and targeted communities, which I commend and wish them the best of luck with.
Credits
Co-creators Hannah Walker & Rosa Postlethwaite
Writer & Performer Hannah Walker
Integrated BSL Interpretor Faye Alvi
Creative Consultant and Initial Director Paula Penman
Lighting designer & Stage manager Craig Spence
Composer Jamie Cook
Deaf consultant EJ Raymond
Creative developer & Digital artist Paul Tricket
Mentor Amy Golding
Post-show discussions Dr Matt Gaskell
Producer Caroline Liversidge
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Sources of Support
National Gambling Helpline on 0808 8020 133.
National Problem Gambling Clinic
Based in London, covers all of England and Wales.
Tel: 020 7381 7722
Email: gambling.cnwl@nhs.net
The West Midlands Gambling Harms Clinic
Covers Stoke-on-Trent, Staffordshire, Telford and Wrekin, Shropshire, Birmingham, Solihull, Black Country, Coventry, Warwickshire, Herefordshire, and Worcestershire.
Access services via your GP or self-referral using the following link: https://www.midlandsgamblingclinic.org/self-referral/
A list of other Gambling Addiction Services on Hannah's website at:
https://thehannahwalker.com/gambling-addiction-services/
The production of Gamble around the UK has already raised donations to support gambling services, including one audience member making a donation of £50,000 to support the NHS Northern Gambling Service.
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