Back In Town

I am not keen on productions that try to solve all of our love problems. Some of them get lost and others...just have no head or tail. That's not to say a few have not managed it. But when a play is focused on how to find 'The One' then that worries me because it might just be a waste of my time.

Where is My Desi Soul Mate? A new production by Rifco Arts is the first play I have seen this year. I was not expecting the gritty realism of ‘Township Stories’ or the poetic language of Shakespeare or the animation you get when watching John Kani on stage. I just wanted to get into a theatre, sit down and see some characters on stage tell me a story. Okay, not the most gripping production but it made me laugh. For the one hour I was in that theatre, I forgot about the fact that I was turned down for a job a few hours earlier, despite being so upset before I got there. It didn’t matter that my feet was hurting like hell due to the heels I had on. I had left everything at the door and settled down for these characters to tell me their stories. Funny at some points and a little slow at others but it was okay. I saw someone else cry and they made me laugh.

That’s the beauty of theatre, you forget your struggles for an hour or more as you get immersed into the story. My friend once described going to the theatre as going to creative church with the exception that you don’t get to holler and scream because you are not hearing a sermon.

I had forgotten what it was like to sit back and let other people tell you a story you know nothing about. I have really missed that. I must start going out again. I need to get a feel of what the London audience is happy to pay for. Most of all, I need others to challenge my creative mind so I can get my creative juice flowing again. I’m back in town and so it is.

Celia - The New Players Theatre - May 2008

What choice do you have in life when the actions of others constantly shapes your world? How painful is it when you are moved and shook by others but have no say in the affairs of your life. These are some of the questions raised by Celia, a new production from Word of Mouth Media.

Set 50 years after the 1807 act that brought an end to slave trade but not slavery, Celia is the story of one woman’s painful journey that has left a mark in history. From her childhood days, Celia never had the opportunity to decide where she wanted to wake up or what her actions of the day would entail. Left behind as a baby by her parents, slaves fleeing from their owners, Celia is looked after by her aunt Letty. Letty does her best to ensure Celia gets the best life has to offer considering their predicament as slaves owned by fellow human beings like themselves. Letty could not have put it better for young Celia to understand when she said, “God created in glory of colour but man has divided in black and white.”

Soon, Celia’s friendship with Richardson, who takes a romantic interest her, gets her into more trouble than imagined. Young Celia is auctioned off to another owner. Whose actions will forever change the course of her life. A painful journey for any woman, Celia represents the many slave women who endured atrocities against humanity and their womanhood in silence and had no power to change their situation.

A tale of beatings and brutality, where men are separated form their wives and children, and women are repeatedly raped by their masters. Even the white preacher’s sermon focuses more on slaves being corrected by their masters rather than the freedom God has allowed for all. Celia is a thought-provoking production that takes you back to a time in history and forces you to examine the actions of man.

While Celia is a great story, worthy of the stage and it has its entertaining moments, it lacks direction in areas such as setting, not once is it made clear to the audience where the play is set. If you are not fully aware of the history of slavery, you might have to work extra hard to figure that out for yourself. Though it is not clear if the director’s intent was for the actors to use their British ascent throughout this production, the language was lacking also and overall, the production could have done with more energy.

Nonetheless, this is a story worth telling for the sheer courage of one woman to stand up for herself.

For more information, visit: http://www.newplayerstheatre.com/

Tel: 08700 600 100

Image: Stuart Allen

Oxford Street - Royal Court Theatre - May 2008

Levi David Addai just keeps them the plays rolling in. His latest offering, Oxford Street, puts life on one of Britain’s busiest street as it is, onto the British stage.

Set in a discount sportswear shop, with characters that are easily recognisable if you have dared to brace one of Europe’s most famous shopping districts. Oxford Street tells the story of Kofi, a university graduate, who dreams of becoming a journalist but for now, he has to settle for the role of a security guard at Total Sports. While he plans the best way to work his way up on the journalism ladder.

Kofi gets on with his colleagues and is fond of the fast talking Loraina, who dreams of making it big time in the music industry, claiming, “I didn’t pick performing arts, performing arts chose me.” An all too familiar statement if you have ever had to hold down a part time job while pursuing your dream. His boss, Emmanuel (Cyril Nri) has a soft spot for him. Things are running smoothly until Darrell, an old mate turns up and Kofi has to make some tough decisions.

Soutra Gilmour’s ability to turn The Jerwood theatre Upstairs into one of the most vibrant sports shop in theatre has to be commended for the way it replicates life as you know it in any one of the sports shop on Oxford Street on the stage.

Dawn Walton’s direction of Oxford Street is lively and without a doubt, a witty and entertaining production that captures a slice of life for what it is. The cast is equally as vibrant. They are not afraid to tell you about their dissatisfaction but they are able to maintain their sense of humour.

Nathaniel Martello-White is strong as Kofi and Ashley Walters captures the trouble making Darrell superbly. Preeya Kalidas is brilliant as Loraina and Kristian Kiehling is the Polish security guard who takes his job more seriously than life itself but he will make you laugh.

Addai’s ability to capture life from the British African viewpoint and posses a voice that tells you about life in London as it is, is to be admired. If this young man continues on this path, this is a name you are bound to see and hear more of on the British theatre scene in years to come.

Director Dawn Walton
Designer Soutra Gilmour
Lighting Philip Gladwell
Sound Carolyn Downing
Movement Ann Yee
Cast: Reece Beaumont, Preeya Kalidas, Daniel Kaluuya, Kristian Kiehling, Amelia Lowdell, Nathaniel Martello-White, Cyril Nri, Ashley Walters, Shane Zaza


Oxford Street is now showing at the Royal Court Theatre until 31 May 2008

Visit: www.royalcourttheatre.com

Tel: 0207 565 5000

Image: Johan Persson

Vula - Barbican - April 2008

Keeping in tradition with its 2008 season, the Barbican is exposing theatre goers to diverse works from different backgrounds and cultures.

As you step into the confines of the Pit, you hear the gentle lapping of waves and the mesmerising background music gets your attention. Produced by The Conch, Vula means Moon in Fiji, and is a production which aims to show the relationship of the people with the water that surrounds them.

The stage is transformed into a pool of water and the production starts off with a dancing mat. You are perplexed, wondering ‘how did they do that?’ The cast members come on stage at different points, using dance, puppetry, music and vigorous energy to interpret different rituals of the Island, from the use of mats to flowers to illustrate the relationship between water and the women of the island. Water has never once played such a symbolic role during a stage production.

Highly visual, Vula evokes a mystical understanding of nature and has its entertaining moments and is deeply entrancing. This is largely due to the background music which is seductive and hypnotic, and has the potential to put you in meditation mode.

However, you can count the number of words spoken on stage and that is where Vula falls short. While the relationship between the women and water is clearly established, it fails to tell you the stories and experiences they hold dearly about that relationship.

Image: John McDermot

Footprints In The sand (Oval Theatre) April 2008

Migration and immigration fuels one of the biggest debates in British society. It’s in our newspapers, on our television screens and has now made its way to the British stage.

A double bill, ‘For One Night Only’ by Oladipo Agboulaje, and ‘Letting Go’ by Rukhsana Ahmad, they both tell the stories of migrants who risk their lives by any means possible to get to the shores of England, seeking greener pastures. Their hopes and dreams all depend on one voyage. However, they soon find that their past still calls at them either by way of the sea through which they came or their family back home, who expects them to work financial wonders and miracles once they get to England.

In ‘Letting Go’, Ahmad tells the story of Abbas, who is continuously being tormented by memories of his brother who dies as they crossed the English Channel to get to Britain. Despite being able to escape the war that has ravaged his home country, the war within him won’t stop due his loss. Everyday, he sits at Dover and watches as the ships come in, anticipating that his brother might be on one of these ships. Only to realise in order to move on with his life, he must first let go of the hope that his brother is still alive or forever remain trapped.

Agboulaje tells a different story in ‘For One Night Only,’ Eddie and Bode have come to England to pursue a better life and that dream is to one day perform at Covent Garden.. They are economic migrants in search of the good life and will do whatever it takes to please their families who expect nothing less than success from them. However, the road to Covent Garden is not a straight forward one.

Within the cosy confines of the Oval theatre, Helena Bell brings this story to life. Using minimal stage props, she forces you to focus on the characters and their stories. Immigration is a subject that divides people with varying opinions but you are forced to feel empathy for these characters who reflect the stories of others you have heard of. Stories about survival, quest for freedom and above all, their struggle for a better life individuals from all corners of the world embark on, when they set out on a voyage when they leave the world they have always know for one where they are all alone with no help from anyone.

Agboulaje and Ahmad have created a powerful lense, a diasporic narrative, through which one can take a different point of view to the issues of immigration in Britain today.

While the subject is timely, topical and thought-provoking, Footprints in The Sand, could have done with more energy and allow a sense of depth about its theme to permeate long enough. So, you don’t feel disconnected once you leave the theatre, thinking it's just another story.


Image: Alessandro Evangelista

House Of Agnes (Oval Theatre) March 2008

My mother’s motto has always been and still is, ‘if you live under my roof, I clothe and feed you, and pay the rent, you must live by my rules.’ Levi David Addai has successfully captured what has long been the tradition of British-African parents on the London stage in his new play, House of Agnes.

An exploration of the British-African way of life, Addai brings to life, the challenges of a single mother from two conflicting cultural perspective. Agnes has lived and worked in England for the last 40 years but has decided its time to go back home to Ghana. However, she must get her sons, Solomon and Caleb to agree on living together in peace and do as she wants. This sets them on a course of collision because these are two young men with a mind of their own and want to be free of Agnes’s control.

Solomon wants to make his own decisions and at the same time, wants his mother to accept his girlfriend, Davina, who Agnes dislikes and refers to as ‘Jezebel.’ Needless to say, her resentment is unfounded. Caleb appears to have his life in order in comparison to Solomon, whom he considers to be ‘reckless.’ While he is happy to please his mother, he also wants to be free of her control. Their differences set them on a path of sibling rivalry. Though they want to be able to lead their lives on their terms; they also crave their mother’s acceptance and to a certain degree, approval.

Cecilia Noble delivers a brilliant performance as Agnes the Matriarch who worries more about her precious white carpet than the feelings of her sons. Nevertheless, she is not afraid to lay down the rules or let people know that she is from the ‘old school.’ Ludvig Bonin and Anwar Lynch shine as two young men who can rise up to the task and bring intense moments alive on stage.

House of Agnes is a clever, tender and accomplished examination of clashing traditional and cultural values one family has to face up to, which is reflective of the wider society. Addai shows family tension through of his characters and you are able to relate to each one as their make their case. A testament to Addai’s understanding of traditions, cultures and the gap that exits between generations.


Image: Mark Brenner

Testing The Echo (Tricycle Theatre) April 2008

Topical and timely, Testing The Echo is the long awaited response from British theatre to help define Britishness. Is it true that ‘being able to see the other point of view is what being British is about?’ Better still, why do people decide to become British citizens?

Mahmood is a young Pakistani migrant who wants British citizenship so his father will be pleased with him. Tetyana wants to escape an abusive marriage and Chong wants to be able to travel, so he can see his family again. They all have their different reasons for wanting the red passport but are they willing to live by the values of the country they crave to be part of?

This soon becomes the focus of the play as Emma (Teresa Banham), an ESOL (English For Other Speakers of Other languages) teacher, is embroiled in a classroom confrontation with Nasim. Who feels she is being made to learn things which are in direct contradiction of her Islamic beliefs when the class is made to learn about what constitutes an English breakfast and the notion of learning all about pork doesn’t go down too well with her.

Going through an ESOL class is one thing but taking the citizenship test and crossing the final hurdle of swearing allegiance to the Queen brings up an entirely different set of questions. A number of issues jump at you; national identity, a sense of place and belonging, and without a shadow of doubt, the differences between British values and other cultural values.

The values of migrants from different parts of the world who have made Britain home but hold on to their traditional and cultural beliefs. We are confronted with the challenges of multiculturalism. How accepting are we of each other and where do we draw the line when it comes to the things we hold on to sacredly, especially our religious beliefs?

Written by David Edgar and directed by Matthew Dunster, Testing The Echo is intelligently written and thought-provoking. For its ability to capture the mood of differences which exists in a fragmented society hides itself under the disguise of multiculturalism, it is certainly a brilliant production.

It certainly speaks volumes about the state of our communities and society and is tied together by the thread of identity which transcends the boundaries of race alone.

Molora (Barbican Centre) April 2008

When you get an actress who lives and breathes the words of her character on stage and exteriorises every action, you are onto something. Within the intimate confines of the Pit, at the Barbican, Yael Farber has taken the ancient Oresteia Trilogy and given a modern day South African twist with the core message of truth and reconciliation.

Elektra watches on as her mother takes the life of her beloved father. She is soon resigned to the role of a slave in her father’s home, a place that is rightly her inheritance. Subjected to inhumane torture at the hands of the woman she calls mother. She also awaits the return of her brother Orestes, whom she hid years back, so her mother would not murder him like she did their father.

The stage action is gruesome as Klytemnestra inflicts the pain of cigarette burns, drowning and the use of the wet-bag - a form of torture used during the apartheid era in South Africa and made famous during the Truth and Reconciliation Commission hearings - to suffocate her. I have often heard of people who are suffocated and how they struggle and gasp for breath. However, seeing it live on stage as Elektra struggles with her arms and legs flapping, I suddenly feel the pain of the countless victims who have died gasping for air. Heartless does not describe what the first half of this play holds in store for us, the audience. However the road to reconciliation is even harder for the characters we see on stage as they face up to the reality of life and the fate it has dealt them. Every action on stage is reminiscent of South Africa’s struggle to reconcile its years of atrocities as it forges ahead to be become the Rainbow nation.

Elektra’s hunger for vengeance consumes her to the point where she poses the question, ‘If you rob us, shall we not revenge?’ to the audience. However, Farber is questioning the whole literal notion of an eye for an eye.

The performances are brilliant as is the writing and direction. Jabulile Tshabalala is formidable as Elektra and takes responsibility for her character throughout the play. At no point did she lose the momentum of the emotions created on stage. Dorothy Ann Gould is enigmatic as Klytemnestra and the chorus of Xhosa tribeswomen add a hunting and evocative traditional meaning to the production.

At the heart of Farber’s interpretation is our ability to forgive when the deeds against us are unforgivable.

When do you get to that point where revenge is no longer what drives you but a will to live. Farber has once again gone to the deep reserve of her resources as a writer and director to show what the human mind is capable of. She is also keen to let you know that revenge is consuming and the ability to move on begins to manifest when you let go of your past in order to regain your future.

Molora is intensely powerful, hypnotic and truly engaging

Image: Christian Enger

The Resistible Rise Of Arturo Ui (Lyric Hammersmith) Feb 2008

The set design gets your attention, so do the crates and chairs. They make you wonder if you are about to be taken on a journey that involves a sandy beach.

Well, dream on, for The Resistible Rise Of Arturo Ui, is a story of terror and oppression. It chronicles the rise of Arturo Ui, a notorious gangster, who only understands the way and language of the gun. Manipulative and full of deceit, his gang is described as ‘bloody,’ not to mention, the discord that exists between them.

Set within the context of modern Africa, this new instalment of Brecht’s satire has taken it upon itself to remind us that totalitarianism and tyranny are very much alive in our world today.

Brecht's original, written in 1941, transposed Hitler's rise to power to gangland Chicago, and this African version retains references to Chicago and Cicero. Thus, our Arturo is a son of the desert rather than a son of the Windy City.

Ui is on a mission to prove to us that power corrupts, but his grip on power will leave a long-lasting scar on his own people. He feels that he's highly misunderstood but he is adept at worming his way to our hearts.

Lucian Msamati is brilliant as Ui, his ability to be animated in this role is to be applauded, as he gives us a man who is at war not only with the outside world but within himself.

There were moments of laughter to ease the tension built up by the different actions of this play; where everyman is a law to himself, especially Arturo Ui.

While I am far from being impressed with the decision to announce each scene before it starts; I commend Ti Green for the conceptualised stage. In addition, the ingenious use of crates as chairs and the coffin that serves as a doorway when one is required; injects some zest to the production. The political speech delivered by Ui at the end is well placed, because it reminds me of the familiar rhetoric of dictators.

Though, Bertolt Brecht did not live to see the first production of his play, but even, he would agree that this story deserves to be told from an African viewpoint. Moreover, this is a metaphor for the different conflicts and struggles going on in the four corners of the world.

Image: Simon Kane

De Botty Business (March 2008 Hackney Empire)

Cancer is no light-hearted matter. And when it is prostate cancer, it becomes a subject many of our men would rather not talk about. Not the poet and writer, Benjamin Zephaniah.

If like me, then you are keen on facts and learning new things, this is the production to watch out for. You will find out what Digital Rectal Examination (DRE) stands for, as well as the fact that Black men are three times more likely to be diagnosed with prostate cancer than white men.

Commissioned by the UK's Prostate Cancer Society, De Botty Business is an upbeat and humorous examination of the misconceptions, myths, fears and taboos connected to prostate cancer in the Black community.

The comedy is set in a West Midlands barber shop, owned by Jamaican couple Mr and Mrs Maxwell and run by their Rastafarian son Marky. Up until the day we join him, Marky's greatest problem in life is that he would rather be running the world's first Rasta airline - with flights daily between Jamaica and Ethiopia - than cutting hair. But on this fateful day, his father returns from some routine blood tests to proclaim that he is dying.

Mr Maxwell is faced with the prospect that he may have prostate cancer and he is adamant no one will put ‘their fingers’ up his backside in order to examine him. His fears skyrocketed when he starts listening to the different medical options facing him. But the cancer seems to be less scary than some of the ill-advised input from his friends.

However, the arrival of Johnson brings a different and balanced perspective for them all. Maxwell’s reversed the decision not to see a doctor.

The unadulterated Jamaican Patois on stage adds an edge to this production which makes it enjoyable and thrilling to watch. You can’t help but laugh at the individual idiosyncrasies of these different characters.

The ensemble is indeed a bunch of interesting and quirky people; from Ivan, who believes, “Root medicine is the real medicine and nature knows best,” to Charlene, the local ‘chatterbox.’

If Charlene gets hold of your business, be prepared, everyone you know is going to find out. And who can forget Barns, the most ‘financially astute’ character I have ever experienced on stage. The burst of laughter from the audience as these characters reveal themselves is a testament to the play's ability to entertain and educate. You just have to experience it yourself.

This is a well thought-out production by the Prostate Cancer Society. It's time we stopped using tradition as an excuse not to live and lead a healthy lifestyle, and start using common sense.

This is no Jamaican farce of a play, these are real life issues presented with a touch of compassion and ‘wicked’ humour. De Botty Business is insightful, brilliant and as witty as the play's title. Riveting and without a doubt, absolutely entertaining.


Image: The Prostate Cancer Charity

Written by Benjamin Zephaniah
Directed by Karen Tomlin

Cast: Cedric Duncan, Joan Hooley, David Monteith, Irina Aggrey, Terence Anderson, Cleveland D Herbert, Sabina Cameron and Jonny Leigh-Wright.

www.prostate-cancer.org.uk

Let There Be Love (Tricycle Theatre - Feb 2008)

I was impressed with this production. Kwame, you got it right.

If you think good old traditional family theatre is dead, think again. Kwame Kwei-Armah has resurrected the good old family story with his new play, which he also directed. Let There Be Love is a tale of culture, family, relationships and an immigrant tale weaved together, and set against the backdrop of Nat King Cole’s song by the same title.

Alfred Morris is a West-Indian pensioner with a difference - he is contentious, foul-mouthed, refers to his daughter as ‘pussy hole’ and has terminal cancer. However, his pride and feelings of indifference towards his daughters will not allow him to ask for help.

Luckily for him, his daughters, Gemma and Janet decide to enlist the help of Maria, a Polish immigrant seeking greener pastures in England and works as a house help.

She is keen to learn all about the English way of life and make a decent living. Soon, Alfred realises that he too can be of help to another and be appreciated because Maria gives him a chance he feels he has never been given by his daughters to be there for them.

Through Maria, we begin to see the vulnerability of Alfred and the compassionate side his children crave for but have no access to. Not only does he supply her with the best way to get her landlord to switch the heating on for much longer by providing her with ‘cheap landlord buster,’ he also practices his love of the English language with her. Calling the moments he kisses his teeth as his way of “an articulation of dissatisfaction.”

Kwei-Armah creates an interesting and dynamic relationship between Maria and Alfred which is what keeps the play going; the wittiness and rapport of both characters. It is clear to the audience that they need each other - Alfred needs Maria to listen to his life stories and Maria needs a home when she starts experiencing challenges with her boyfriend. Nevertheless, Alfred will need more from Maria.

Kwei-Armah brings sensitive topics such as lesbianism from an Afro- Caribbean perspective and euthanasia unto the live stage. He treats both subject matters with an understanding that leaves the audience gasping when Alfred gives Maria a run-through of how he intends to end his life. It was theatre pushing its boundaries.

Joseph Marcell brings an art of mastery to his role as Alfred Morris. Lydia Leonard is astounding as Maria, and she gave one of the best Polish accents I have ever heard on stage. Sharon Duncan-Brewster pulls of her role as Alfred daughter, a cross between a tomboy and the feminine side his father used to know.

I was rather getting tired of plays that were too ambitious and you are left wondering what the last hour or two was about at the end of it. Kwei-Armah has delivered with Let There Be Love; it is an absorbing and refreshing play and certainly entertaining.




Image: Tristram Kenton

White Boy (Soho Theatre) January 2008

Sorted is a Sudanese teenager who has come to England after experiencing the brutal murder of his family. He soon finds himself in a new environment and culture. It is rather challenging for him to comprehend both worlds and deal with his grief at the same time.

Ricky is a white boy who has friends from all over the world, including Victor, a Jamaican, who is Ricky’s football buddy. They are liked and respected by all and as far as they are concerned, they are all ‘breddas.’ Flips, is the school drug dealer and his presence sends shivers down the spine of those around him.

One incident changed everything for these young men and Ricky is forced to confront his white identity in a multicultural Britain.

Written by Tanika Gupta and directed by Juliet Knight, White Boy is a much needed play that takes a look at the gritty realism of teenage culture in Britain today.

The play focuses on knife crime, and, with the government now proposing to introduce metal detectors into some schools, the play certainly makes a strong case against carrying “a blade” for self-defence. But Gupta also explores the themes of identity and teenage violence - it is about who you are as a teenager and your place in society.

However, this identity also moves beyond the issue of personal identity and tackles your identity as it relates to your race. Ricky finds himself caught between Flips and Sorted, and doing his best to stay loyal to both parties. An unflinching moment is when Flips refers to Sorted as a ‘refugee monkey.’

Gupta succeeds in her ability to capture the teenage street language. It is punchy, raw and racy, and adds humour and colour to the dialogue. The set design adds an edge to the play because of the symbolism a school gate adds to the play; their school is where they meet and discover themselves.

I’ll never forget the point of no return when Flips is stabbed and knife crime becomes real on the life stage. It is no longer what happens to others but I, as an audience member, I am now part of it.

This is the first time I'll see a play and witness theatre audience with teary eyes. It is a gripping and moving play because of the playwright's ability to convey the mixed emotions which teenagers experience as they try to define their place in society and among their friends.

The play is energetic and the young cast is a delight and easily likeable. From the confident and flirty Zara (Venetia Campbell) to Shaz (Peyvand Sadeghian), also a loud mouth but knows her limits.

Ciaran Owens is menacing as Flips and Luke Norris is brilliant as Ricky; often bringing light-hearted humour to the play with his ability to speak Jamaican Patois, which is entertaining.

The topicality of the play makes it a riveting production; it is concise and cannot be ignored but taken in and digested by all because it brings the epidemic of ‘knife crime’ closer home.

The production is sometimes spine-chilling, but without a doubt, White Boy is also an arresting production that leaves you questioning your role in the lives of the youth around you.

Image: Chris Ridley

The Magic Flute (The Young Vic) Nov 2007

Opera has never been my idea of a night out. Despite the spectacular elements of enchantment attached to it, I have never been eagerly drawn to it. While I appreciate the talent and energy that emanates from Opera singers whenever I have spared any precious minutes of my time to watch it on television, I have never been intrigued by it. By now you get the idea that it takes a lot to get me to change my mind.

The Magic Flute, Mozart’s most famous operatic piece comes to the Young Vic but with a twist he never envisaged. Adapted and directed by Mark Dornford – May, this production has an ensemble of South African singers and musicians. This production gives you a different image of the post-apartheid South Africa.

So the story goes; Tamino is a young prince from a distant country, rescued from his own nightmares by the attendants of the Queen of the night. He is employed to help rescue Pamina, the Queens daughter, whom she claims has kidnapped by Sarastro. Accompanied by Papageno, the mischievous bird-catcher, who wants love in his life, Tamino gets a magic flute for protection on his journey. Soon they come in contact with Sarastro and find out for themselves, he is not the evil man the Queen of the night claims he is. The young prince soon falls in love with Pamina, who is equally smitten by him. He also decides to become one of Sarastro followers. The stage is set for the trial to decide the fate of the young lovers.

If you are expecting an orchestra, get ready to be surprised. Mandisi Dyantyis, is the conductor, in a T-shirt and combat trousers, he conducts members of cast who are playing marimbas. As if that was not shocking enough, the stage of the Young Vic has been transformed into a different world. With bamboo sticks holding up the stage in a trapeze form, drums hanging above and fire coming from below as the story unfolds.

Mhelekazi Andy Mosiea and Philisa Sibeko are brilliant in their respective roles as Tamino and Pamina. Zamila Gantana is the hilarious Papageno. Pauline Malefane is astounding as Queen of the night, her voice and sheer stage energy, takes your breath away. Colourful and amazing costumes, especially when Pauline Malefene comes on stage dressed in weaves of raffia add zest to the production.

If you are expecting the high octane dance songs and sounds of South Africa, from shows such as Umoja, then this isn’t for you. However, it has its moments with raptous drum sounds. The songs and voices of the singers reverberate throughout the theatre. Despite the odd clumsy dance routines, The Magic Flute will leave you spellbound and nourished, and the ingenious use of bottles to create soaring melodic sounds will leave you wanting more.


Image: Keith Pattison

Henry V ( The Courtyard Theatre - RSC - Stratford-Upon-Avon November 2007)

Henry V brings to an end, the complete history works of Shakespeare by the RSC, and as with all things Shakespeare, it is full of life and has been interpreted by Michael Boyd with vigour. A story of war and its ruinous damage to those involved fused with humour and of course would be incomplete without the elements of treason, passion and love.

Geoffrey Streatfeild, gives an astounding performance as the young and zealous Henry V, who rallies the English forces as they take on the might of the French army, a rather ambitious decision that turns out in his favour with the minimal loss of his soldiers and they win the battle.

Boyd’s interpretation successfuly fuses the the responsibility o king feels towards his nation with his anger and disappointment at betrayal into a compelling story of war,culminating in a heightened burst of emotional energy when the restless king decides to confront the traitors within his own camp.

This final offering in the history cycle is monumental in style, the physical action on stage which includes the French dukes, a bunch of colourful characters hanging down on a trapeze and movements by Liz Ranken bring an element of entertainment to the whole production as the action unfolds. The English army don’t fail amuse us either with their humorous war antics. An unflinching moment for me was watching Captain Fluellen played by Jonathan Slinger, feed leek to Pistol for his wayward words during battle.

Electrifying performances from members of the cast, with the likes of Fluellen, Nym, Mount Joy, played Chuk Iwuji and Alexia Healy in her role as Lady Catherine, indulge us all the way. Henry V is a thrilling production to watch as it brings finality to the critically acclaimed History Cycle season for the RSC.

Image: RSC
Photographer: Ellie Kurttz

Statement Of Regret (National Theatre - November 2007)

Kwame Kwei-Armah is back with his third play, ‘Statement Of Regret,’ for the National Theatre, after the success of Elmina’s Kitchen and Fix UP. A daring attempt to address the deep seated divisions that exists between Africans and Afro-Caribbeans, and politics becomes the tool of exposing the differences in these communities.

Kwaku Mackenzie is the founder and head of IBPR, a political think thank that raises awareness about issues which affects Africans and Afro-Caribbeans in the UK. However, the death of his father and the guilt he feels over his actions of not being there soon takes their toll on him and he hits the bottle. To make matters worse, his family home is in disarray with the arrival of his illegitimate child, and he has lost the confidence of those who work for him. Kwaku is a self condemned man whose decision making ability has become more impaired since his heavy drinking sessions.

This will prove costly when IBPR, under Kwaku’s direction takes a radical step in complete contradiction to everything it stands for; fighting for the equality of Africans and Afro-Caribbeans, decides to focus on Afro-Caribbeans only. Creating a disunited Black-British community, even the BNP wants him to speak at some of their events. However, the tensions goes beyond politics, they are also personal as the characters are forced to face up to the stark reality of their individual lives and the prejudices they carry within. Hidden away from the surface yet visible for all to see.

The stage is set for questions to be asked about the role of slavery for the frosty relationship that still exists between both communities. An argument based on ‘Post-Traumatic Slave Syndrome’, and at the same time seeking to know how far we have come as a community and the amount of healing to be done before we can move on.

Laced with humour, “BPT – Black People’s Time”, and energetic dialogue and an outstanding performance from the cast. Don Warrington is superb in the lead role, as of Kwaku and Chu Omambala is brilliant as Idrissa Adebayo, the Oxbridge educated gay and intelligent research director. Who speaks his mind, ever so eloquently and effusively. Clifford Samuel is the office intern with a PHD, who gladly reminds everyone of his academic achievement.

While it would have been easier to be an outsider looking in on the action, Kwei-Armah's writing resonates with stories and incidents I have heard and witnessed in past times within my community as a person of African descent living in the UK. He has managed to touch a nerve that needs healing from all side.

A visceral piece of writing but losses its way in the second half of this production by giving in to the emotions that run high. Taking focus away from the compelling subject matter it started with. Nonetheless, ‘Statement Of Regret’ is a provocative take on a rather delicate issue which is still a taboo when raised in some quarters of the African and Afro-Caribbean communities.

Image:Keith Pattison

The Investigation (Young Vic - November 2007)

A courtroom, 6 smartly dressed male actors and 1 actress, and the stage is set for a showdown which examines the Holocaust. The only twist to this story is that its all in French, subtitled in English on two huge projectors for the audience and the cast members are Rwandans and so is the director.

Originally written by Peter Weiss, ‘The Investigation’, is one of the most prominent theatre productions to examine Auschwitz for all its horror. Produced by Urwintore, a Rwandan Theatre Company, and adapted and directed, by Dorcy Rugamba, this latest instalment is an introspective look at history’s most recent and atrocious Rwandan genocide.

The actors in their multiple roles as prosecuting lawyers, victims, defence counsel and defendants cross examine each other with each new case, as they seek answers to the actions of various individuals involved in the case. It is an intense and thrilling trail as victim after victim give accounts of their harrowing experiences, what you have is a gripping succession of stories which leaves you swirling with a wave of emotions and questions of how could we let this happen again? This happens to be the theme that resonates throughout this compelling production with its unadulterated exposure of crimes against humanity in words.

Rugamba points out that the aim of this production is not to answer questions but to leave the issue out there for individuals to answer for themselves, “By investigating the Nazi’s crimes, we are prosecuting the crimes of our own time which never succeeded in recovering from Auschwitz crimes.” A point which comes across vividly through the intensity of the play and the few momentary burst of emotions on stage.

The choreographed stage movement represent the beginning of a new case or as a different victim relays their bloody and painful story. Outstanding performances from the ensemble of actors gives a voice to each character the audience is introduced to, giving a multitude of polysemic meanings to each case from different perspectives.

Though the use of French, seems like a language barrier at first for those of us who don’t understand a word of French. However, the intensity that emanates as the characters tell you their story is powerful enough to have you fully absorbed and make you want to know more about what became of these individuals.

‘The Investigation’ is an authentic portrayal about a time in history that should never be forgotten and at all cost, should never happen again.

I think this is well worth seeing because hearing the voices and seeing things from the eyes of individuals who have lived through these heinous acts of our time keeps you grounded.

Image: Marc Brenner

The Brothers Size (Young Vic - November 2007)

It is rare for a new writer to captivate the attention of both critics and audiences alike but Tarell Alvin McCraney has succeeded were others have struggled with his first play.

Set in Deep South of Louisiana, ‘The Brothers Size’ explores the bond of brotherhood, written against the backdrop of life’s daily struggles. Ogun and Oshoosi Size are brothers and have chosen different paths in life. However, the love and family bond they share means one is continuously drawn into the other’s world, unwillingly. Ogun, the law abiding older brother, who owns an auto-repair shop, and Oshoosi, his younger brother, an ex-con who is doing his best to stay on the straight and narrow after his recent release from prison.

Despite Oshoosi’s attempt to do right, the arrival of Elegba, his ex-cell mate soon brings a dramatic twist to their lives and the promise of freedom is once again is threatened and in tatters for the Size brothers. Oshoosi soon learns certain things in life may be free but have a heavy price tag and for him, that could be his freedom.

Directed by Bijan Sheibani, the action of the entire play takes place in a circle mapped out by the actors at the beginning, reminiscent of traditional story telling times in the Yoruba culture and other African cultures; when children sit in a circle around as an elder narrates a story. It is more of an accomplishment for McCraney, using the same story telling techniques to introduce characters and scenes as the action unfolds. McCraney excels in his ability to take on Yoruba mythology, using the names of African gods to tell this tale of two brothers.

Shebani’s interpretation of McCraney’s script successfuly fuses the responsibility Ogun feels towards Oshoosi, and his disappointment and anger at his actions. A compelling story of family history and the dynamic relationship between both brothers, culminating in a heightened burst of emotional energy from Obi Abili as Oshoosi, and Nyasha Hatendi as Ogun.

Energetic stage movements choreographed by Aline David and the continuous music by Manuel Pinheiro, which accompanies the actions on stage combined with electrifying performances of Abili, Nyasha and Martello-White as Elegaba, is both delightful and captivating.

The Brothers Size is an evocative production and McCraney is an exciting new voice to watch out for.

Image: Marc Brenner

Joe Guy (Soho Theatre - November 2007)

Joseph Boateng, better known as Joe Guy, is a young premiership footballer of Ghanaian heritage. He soon finds himself living the life he has always dreamed of; the fame, the money, the notoriety and of course the bling. Gone are the days when he was mocked for his strong Ghanaian accent, ridiculed by the girls and bullied on all sides and the assault goes as far as him being called Kunta Kinte.

Joe is the new kid on the block until he meets Carlton the menace and Rod Campbell, his team mates and the road to self-destruct is set for this promising young talent. Who questions his own identity as he tries to fit in and finds himself lost in the hype of his own ego.

Joe Guy is an explosive and vulgar exposure about the underlining tensions that exists between Africans and Afro-Caribbeans, as it examines the issues of race and identity through a theatrical lens. It also gives a rare glimpse into the life the premiership world for all its eccentricities.

Roy Williams writes with a birds eye view on his chosen theme as he delivers sensational yet punchy and witty dialogue again and again. Abdul Salis is effulgent as Joe Guy and Mo Sesay, once again has not failed to let his brilliance as an actor shine through. Interestingly, there is great rapport between both men in the opening scene which was hilarious and captivating, makes them a dynamic stage duo.

Elufowoju, Jr, succeeds in his ability to take on an immensely sensitive subject matter and marry it to dramatic artistry, bringing life and humour to an issue that is rather swept aside. While the Despite a muffled up dug-out scene where it was rather challenging to hear Mo Sesay clearly, ‘Joe Guy’ is a sharp, energetic, exciting and brilliant production.

Image courtesy of Tiata Fahodzi and Stepehn Cummiskey.

Rough Crossings (Lyric Hammersmith - October 2007)

It is the American Civil War and slaves who were brought over from Africa dessert their masters to join the British army with the promise of their freedom. However, after the war, they find themselves in Nova Scotia, and the promise of freedom, unfulfilled. Feeling betrayed and abandoned, Patrick Robinson is his role as Thomas Peters takes it upon himself to fight for the justice of his people and travels to England to demand justice for the way they have been treated.

Set across three continents and countries, Europe (Great Britain), North America (United States) and Africa (Sierra Leone), Rough Crossings is the compelling true story of freed slaves sent back to Africa in the hope of deciding their own destiny. Based on a book by the same title and written by the historian, Simon Schama, and adapted for stage by Caryl Phillips. Directed by Rupert Goold, Rough Crossings is a play about vision, betrayal, prejudice, courage and fight for freedom at a time when slave trade was the most profitable business.

The tilting stage, which symbolises the sea and journey of the slaves to the different places they find themselves before returning to Africa, gets your attention when you walk into the theatre. The use of old Negro spiritual hymns and songs, adds a depth of humanity to the characters and helps the audience to experience their pain with them. The use of movement, scenic backdrps and video clips to represent the different transitions in the play also serve the thrilling production justice.

The cast delivers a powerful understanding of the story and of their individual characters as well as their ability to take on more than one role. Patrick Robinson (Thomas Peters) gives an outstanding performance as a charismatic character whose voice of opposition cannot be ignored. He is a man who is sure of himself and strength, and though he is seen by the others at some point as being contentious, he believes in his own self-worth. “I’m a man not an object to be cast aside once someone decides he has no use of me” as poignantly put to David George (Peter De Jersey) who serves a priest to the slaves and bring a godly perspective to the story.

While Rough Crossings is enthralling and thought provoking as it explores cultural arguments which are still deeply rooted on both sides of the Atlantic. It is also told from a multi-dimensional point of view; the Americans who lost their slaves and wanted them back, the British crusaders, who fought for the abolition of slavery and the freed slaves themselves. On the other side of the coin, it feels like an ensemble of messy acts joined together by the magnitude of the subject matter known as slave trade. If you are not conversant with the original story, it feels muddled up and takes a while to work out the point you are at with the play.

It certainly could have done with more depth as to what happened to the slaves upon their arrival in their new found African utopia. The audience is rather inundated with a succession of events as John Clarkson (Ed Hughes) tries to restore order and keep two opposing sides at peace. The White settlers who run the Sierra Leone Company and the freed slaves who want more from their home soil and feel the British Government has ignored them and fallen short on promises made. While the sum total of the story culminates in Sierra Leone, it also raises the question of what it means to be free and at liberty. Though this stage production fails to deliver on the same level of narrative vigour with which Schama tells the story in his book. It is still an imaginative and innovative attempt to recreate history on the stage.

Image: Manuel Harlan

Meetings (Arcola Theatre October 2007)

Food serves as a metaphor for the old way of life that Hugh craves. For his wife, Jean, meetings and more meetings is the only way of ensuring she climbs up the ladder in the new corporate world they couple have found themselves.

In 1980s Trinidad, the economy is booming and Hugh and Jean, a high-flying business couple, have every reason to be happy.

But when Nicholai La Barrie as Hugh meets an old woman selling traditional Caribbean food he remembers the meals his mother used to make: he realizes what is missing in his life. Starting with food, Hugh changes his whole way of life. His search for happiness leads him away from swimming pools, a speed boat and Jean.

‘Meetings’ is a darkly comic look at a generation tempted by the fast cars and fast food of the American lifestyle but rooted in a more traditional culture. Their search for an identity, torn between heritage and globalisation, is as recognisable today as it was in the 1980s.

Hugh wants the traditional things in life that his Trinidadian Culture has to offer him; Jean (Inika Leigh-Wright) on the other hand wants a slice of the economic boom in the nation.

Written by Mustapha Matura, who is regarded as one of the finest dramatist of West Indian origin; Meetings is set in Trinidad, his place of birth. It is a play that delves into the loss of cultural heritage and tradition, a clash between the old and the new.

Hugh wants real Trinidadian food, like coo-coo to get back that old feeling of what it means to be home but Jean can’t be bothered to make any because she is too busy with her meetings, a point she reiterates when she tell him, “I’m not ya mother younno,” when her husband makes a point about the kitchen having everything they need except food.

However, his new found appetite for the old way of life is satisfied by Elsa (Davina Anderson), the house-help brought in to help make traditional food for Hugh.

Soon we are faced with class divide as shown through the characters of Elsa and Jean, two different women with separate lives. While Jean has lost sight of her history, Elsa is still very much connected to the old way of life and Hugh has rediscovered his passion for that old way of life, which Jean no longer wants for them as a couple.

Dan Barnard succeeds in his ability to bring to light the questions raised by Matura in this reprised production of Meetings. While it does not tug at you emotionally, it is successful in its ability to provoke thought and question us as individuals about the little things in life which we sometimes take for granted such as family, identity and heritage.

Image: Trini Jungle Juice.com