Tyrell Williams’ powerful play returns to Bush Theatre, and explores friendship, change and the impact of gentrification.
The story
We meet Bilal, Omz and Joey (Kedar Williams Stirling, Francis Lovehall and Emeka Sesay) – 3 Black teenagers and aspiring footballers who hang out on Reedbury estate in South London. The trio frequently play football on ‘Red Pitch’, practicing their skills for when they make it professionally. They banter, bicker, talk about girls and recollect their memories on the estate. Throughout the play, the boys prepare for the demolition of the estate and their impending relocation from ‘ends’.
As the play unfolds, we discover Bilal, Omz and Joey’s aspirations, their family life, and the pressure and expectations held upon them. The regeneration of their estate has a profound impact and the show cleverly explores the disadvantages and potential benefits of this. This powerful story is about friendship, community, our dreams and change.
Photo by Helen Murray
My thoughts
As soon as we enter the space, we are immersed into Bilal, Omz and Joey’s world. The actors arrive on stage, performing kick-ups, and chatting with the crowd – some audience members even joined them on stage!
Having watched the show at the Bush Theatre, it was amazing to see the elevation of the production in terms of the creative design. We feel like we are directly on the estate, with distant sounds of destruction, rattling from the scaffolding, and protests from the residents – all while the boys talk and play football. Khalil Madovi’s sound design is such a subtle yet significant way to showcase the impending changes. Amelia Jane Hankin’s football-inspired set design transports us to Red Pitch, with the fenced area and goal markings on the floor. This is supported by incredible lighting from Ali Hunter. During the dream-like sequences, the theatre is lit up like a stadium, where the characters envision scoring goals as professional footballers. It’s a literal snapshot of their aspirations, with the flashing lights, cameras, and encores from the crowd – it felt electric!
Photo by Helen Murray
While we may assume football is the focus, ‘Red Pitch’ covers various topics such as friendship, ambitions, and gentrification. Williams has created an authentic piece of theatre, highlighting a relevant topic in our society, that is rarely seen on stage. Inspired by Williams’ own experiences growing up, the story takes a personal approach as we look at the regeneration through the lens of the characters. Bilal, Omz and Joey have been friends for years and the chemistry between the cast makes this even more believable. All three are fantastic in their roles; they bounce off one another, especially during the comical moments (which were plenty!) and a brilliant dance sequence – it’s a joy to watch! Their portrayal as teenagers was spot on too, and I enjoyed the raw emotion they brought to the characters.
With movement choreographed by Gabrielle Nimo, the cast maintains high energy and an impressive display of stamina and football skills. Under Daniel Bailey’s direction, I enjoyed how the show struck the perfect balance between comedy and sincere moments. It was also interesting to hear the character’s varying views about the regeneration of Reedbury Estate. Omz is hopeful the change will be good for his elderly grandad’s access needs, while Joey appears frustrated that the local Morley’s has been replaced with a coffee shop. The show serves a reminder of the social and economic impact of London’s changing landscape.
Photo by Helen Murray
The storytelling is unique, engaging and a great representation of what it means to have a sanctuary and a shared space. The tapping in and out of the pitch was a genius move, highlighting the bond and what Red Pitch means to Omz, Bilal and Joey.
The one-act play takes us on an emotional journey as we discover the boy’s family life and the pressures they face. The chemistry between the cast was so palpable that it felt tough watching the characters argue and fight. Kev McCurdy directs one of the most intense and realistic fight scenes I’ve ever seen, as the boys scrap on the pitch. In the quieter, emotional moments, particularly in the final scenes, we see just how much the boys mean to one another. It’s a beautiful, and authentic display of friendship.
You can tell a lot of heart has gone into making this production and I appreciate having stories like this in theatre! With a talented cast and creative team, Red Pitch is funny, thought-provoking, empathetic and refreshing story for the West End. I highly recommend going to see this show!
Following three sold-out runs and award nominations, Ryan Calais Cameron’s ‘For Black Boy Who Have Considered Suicide When The Hue Gets Too Heavy’ returns to the West End with an all-new ensemble. The play is an authentic exploration of the Black male experience, located on the threshold of joyful fantasy and brutal reality where six men clash and connect in a desperate bid for survival.
I sat down with Posi Morakinyo, Tobi King Bakare and Mohammed Mansaray, who play Midnight, Onyx and Obsidian, to discuss their characters, memorable moments and why they believe people should see the show!
How were the first preview performances?
Tobi: Our first preview was the beginning of a really exciting journey. Doing that first preview wasn’t just a sense of accomplishment, but was an assurance of the work that we’re doing. I was like, ‘We’ve got a sick piece of theatre’. And not only was it good to do, it was good to hear – I’ve never heard a reaction like that. We feel we have a piece of theatre that is doing more than what it says on the box – and that’s just the first preview!
Posi: It was amazing, we had a lot of energy for it. We wanted to make sure that we were getting that story across. And I think we did. Everyone was electric and buzzing. I remember sitting and watching the energy, the audience was really loud. I think it was really cool.
Mohammed: The first few previews have been good. That first one [preview], like, we needed that energy. And now we’re just working on it from there. So it’s been good.
What drew you to the production?
Posi: It’s the title. The first three words – For Black Boys. How can you go wrong? As a Black boy in the scene, like there’s nothing like it. I’ve done loads of shows that are similar to the last one. I work with the same people, the same creatives, and similar venues. [For Black Boys] was a familiar difference that I’d never experienced before. Like, I’ve been in space with Black creatives, but not like this. I’ve done Black shows, but not like this. This is a different piece of work. And it’s the beginning of a really exciting wave of new material that is actually shaping the audience’s minds and giving them something other to think about other than a good time.
Photo by Johan Persson
Tobi: When I watched the show years back, I remember feeling like each and every one of those stories could be mine. I don’t think I’ve ever felt so seen in a show before as an audience member. I’m sitting there, captivated. going ‘wow, all those stories’. Getting an opportunity to tell these stories and add to that art form – how could I not say yes, as a young Black man? Shout out to Ryan [Calais Cameron].
Mohammed: I knew some of the guys in the show, so I came to support them. Then I came a second time with my younger brother and thought it’d be good for him to watch it. You don’t see plays like this. If you’re talking about Black theatre in the UK, there have been some prominent Black shows, but shows that talk about the condition of Black men, Black boys, and just really delve into that, you don’t really see shows like that too often. So for me, it was very eye-opening. And it was even better to see it on stage knowing that I can relate to this. But then there’s a plethora of people that are gonna come and see this, and who knows what it’s gonna do for them.
Tell us a bit about your character.
Posi: Midnight is a cool guy. He’s vibes central, always down for a good time. I think he gravitates towards the party. Everything is on the surface. Midnight’s been through life but hasn’t been through it with anybody. Anybody who navigates life alone will tell you even the highs don’t feel that high. Midnight is an isolated individual beyond the surface. It’s tough to play when you can see yourself in a character, and you know their journey.
Tobi: Onyx is kind of the opposite to me. I’m very smiley, calm and very approachable. Onyx feels the need to be the alpha; he’s hot-headed and impulsive. Onyx is probably the most recognisable character, but not for great reasons. But that’s why the play is so awesome because it shows why and how a boy could end up like that. It all comes down to systematic racism and his environment/surroundings.
Mohammed: Obsidian is a young man who went through something dark that encouraged him to learn more about his history and empower himself through education. Empower himself through learning about his ancestors, particularly Black African history that has emboldened him. Obsidian is fighting for the evolution of the Black man. He’s fighting for us to go back to the root and understand who we are, as Black people and the people that have come before us and the examples that they’ve given us as to how we can be our best and most authentic selves. I’ve learned a lot from him – the way he’s not scared to be the catalyst for change.
Photo by Johan Persson
How do you find joy while performing the difficult themes in the show?
Tobi: Like yin and yang – pain and joy aren’t exclusive. This show is a brilliant example of that. There’s literally scenes where you go from “haha” to sobbing instantly. That real experience is what makes this show and the writing so captivating. As a Black community, we have joy. Plenty joy. There’s never not enough joy to share. We have moments [in the show] where we talk about praise and worship. For me, the joy reminds me about how important this show is. The way the world has been set up for Black people, sometimes that joy is silenced. This show reminds me that that joy will continue to roll.
Mohammed: We’ve always tried to keep a high spirit because we understand the gravitas and the heaviness of the story. As artists, you have to find a balance. The things these characters go through on stage are a reality for a lot of people. And if you’re not able to relate to it yourself personally, at least one of the six men on that stage might be your brother, cousin, uncle, or grandad. Coming to see a play like this will allow people to better understand and support the people around them. As much as it is heavy, it is a responsibility that we have as artists to service these stories and to do our due diligence in our preparation and telling the stories. It isn’t really about us on stage.It’s about the audience and the people we are telling these stories for.
How do you feel about the use of music and movement to share the emotions of the story?
Mohammed: Some of it was challenging at first. There are elements of Krump in the show. I can dance; I trained in Musical Theatre and was doing ballet every morning for three years. It was good for me to step back into it a bit more. When you understand all the functions of these different forms of expression, and how it serves the story and pushes it forward, you’re really able to embrace it.
Photo by Johan Persson
Tobi: One of my favourite parts of the show is the opening sequence, seeing six boys moving between each other and just flowing. We’re telling a story of rebirth and the story of birth through our creative expression of moving. Six Black men doing that style of movement, to me, is super powerful and gets me ready to tell some stories. The movement and music in the show are really important additions.
Posi: We have found so many ways to communicate with one another, that doesn’t just rely on words. The reason why this piece speaks to so many people is because we’re not just talking. Music, movement – it’s more than just a wow factor. It’s a language. And there’ll be somebody refusing to listen as we’re speaking, but cannot refuse the melody that sits on the heart. I try not to think about it as a song or as a dance. I think about it as another form of monologue. The movement and the music add another way of communicating to the audience.
What has been your most enjoyable or memorable moments so far in this production?
Tobi: The most enjoyable moment in the show for me is being held by my brothers. We have a culture where before each performance we come together as men and share a space. I’ve never had that on any other job where I felt like, I’m held by my cast and team. I’m literally physically held. That experience is unmatched.
Posi: Seeing everybody be so invested in this has been the most enjoyable experience.
Mohammed: The other day, Posi’s friend, who is a caterer, bought soul food for us – oxtail, chicken, mac and cheese, plantain. Those moments of camaraderie and community, off and on stage, are very important to me. Also, our singing moments – when we’re an ensemble, and we’re putting our heart into the songs, it’s like we feel it.
Why should people come and see the show? What do you hope the audiences take from seeing For Black Boys?
Posi: People are talking a lot about it. Everybody should come and see it to have their own opinion. I would hope that everybody can benefit from a piece of theatre like this, that isn’t just enjoyable – it’s educational. It’s informative, it’s insightful. I hope people feel seen. This show does a really good job of capturing the humanity of people.
Tobi: I hope audiences leave the show, feeling like they can tell their own stories as well. What Ryan does really well about pinpointing these stories, is, it feels like ‘Yeah, I’ve had that experience before.’ He talks about specific things where you still feel like you can relate. I think a show like this with the format, the structure, the openness, the rawness of it – I would love for people to come and leave inspired.
Photo by Johan Persson
Mohammed: So, I like to describe this show as edutainment. Education through entertainment. There’s loads of information that can educate people on the psyche, the human condition and the Black man.
I hope people take this as a form of enlightenment. I hope that you learn a bit more about Black men; our strengths, our vulnerabilities, our challenges, our happiness. I hope it enables people to understand and appreciate that a bit more. And I hope that if people come in and see themselves represented on the stage – we’ve done our job. I just hope it’s able to bring people together.
For Black Boy Who Have Considered Suicide When The Hue Gets Too Heavy plays at Garrick Theatre until 4 May 2024.
🎭 Standing at the Sky’s Edge 📍 Gillian Lynne Theatre 🎟️PR invite ⭐⭐⭐⭐⭐
Following two successful runs in Sheffield and London, and many prestigious awards,Standing at the Sky’s Edge returns to London for a West End run, proving what a remarkable, new musical it is!
Set in a brutalist housing estate in Sheffield, the story spans over 5 decades, focusing on three families who lived in the same flat. Written by Chris Bush, their stories showcase significant moments and changes on the Park Hill estate. In the sixties, we meet newlyweds, Harry and Rose (Joel Harper-Jackson and Rachael Wooding), bursting with optimism and joy as they arrive in their new home, longing to complete their family with a child. In the nineties, we see teenager Joy (Elizabeth Ayodele), a refugee who has fled Liberia with her cousins Grace and George (Sharlene Hector and Baker Mukasa), arriving in Sheffield. In 2015, Poppy (Laura Pitt-Pulford), a Londoner, moves to the regenerated estate, following a breakup with her fiancee.
Photo by Brinkhoff-Moegenburg
All three narratives overlap in this multi-generational story. It is a heartwrenching yet powerful production about hopes and dreams. Sky’s Edge beautifully touches on love, loss and the importance of community.
Ben Stone’s set design marvellously replicates the brutalist ‘streets in our sky’ architecture of the Park Hill estate. With towering flats, concrete pillars, walkways, and balconies that see the ensemble walk and dance through. There’s an intimacy with the set design, especially as we watch the band perform across two levels of the set. This is further exemplified by the new space at Gillian Lynne Theatre, which sees the ensemble perform in the theatre aisles. The design is complete with the notable, “I love you, will you marry me?” graffiti, a spectacle to look at during the final scenes, against Mark Henderson’s warm orange and yellow-toned lighting.
Photo by Brinkhoff-Moegenburg
With music from Sheffield singer-songwriter, Richard Hawley, the musical also guides us through the history of Park Hill and its iconic building over the decades. Bush is a gifted playwright; they brilliantly explore the socioeconomic impact on the Park Hill residents over the years including unemployment, anti-social behaviour and the end of social housing. The show also includes immigration, gentrification and politics. There are references to the 2016 EU Referendum and Thatcher’s policies – key moments in the British political landscape that had an impact on people’s livelihoods and society as a whole.
Photo by Brinkhoff-Moegenburg
This is unlike most ‘jukebox’ musicals and is incredibly unique with how the themes are presented. Under Robert Hastie’s direction, the three timelines are intertwined, and performed simultaneously on stage, with the characters sharing the living space. It’s an ingenious directorial choice which becomes meaningful towards later scenes. Through captivating storytelling and heavenly vocals, the performances from the cast are passionate, and filled with raw emotion that left members of the audience teary-eyed.
Photo by Brinkhoff-Moegenburg
I enjoyed Joy’s storyline and her sweet blossoming relationship with local teen, Jimmy (Samuel Jordan), while Poppy and her ex-girlfriend, Nicky (Lauryn Redding) provided us with plenty of humour. Wooding and Harper-Jackson perform in moving scenes as we watch the breakdown of their marriage, which has devastating consequences. Wooding’s heartbreaking rendition of ‘After the Rain’ was one of my standouts. I also loved the moments from the ensemble cast whenever they led the songs and choreography, further adding to the sense of community that is present throughout the show.
While I wasn’t familiar with Hawley’s music, the songs complement the story wonderfully. The stunning musical arrangements are packed with emotions ranging from joy to rage, particularly in numbers like ‘The Streets Are Ours’ and the gripping Act 1 finale, ‘There’s A Storm Coming’.
Photo by Brinkhoff-Moegenburg
Often defined as a love letter to Sheffield, Standing at the Sky’s Edge provides a universal experience. Its themes of home, community, resilience and change resonate with many, including myself. Chris Bush, who hails from Sheffield, has crafted a beautiful story that is filled with heart, and authenticity and is an example of a modern musical theatre masterpiece!
Bush Theatre continue impress with their latest production from Benedict Lombe.
‘Shifters’ is a beautiful and honest, exploration of young love, memory, and destiny. We meet Destiny and Dream (Heather Agyepong and Tosin Cole), childhood friends who reconnect after years apart. Now, aged 32, Des and Dre are living the dream in their respective careers. But a tragedy brings them together for the first in 8 years, and the memories come flooding back. The play shifts between pivotal moments in Des and Dre’s lives – from the moment they met at 16 in debate class to the challenges they faced in adulthood.
Written by Benedict Lombe, winner of the Susan Smith Blackburn Prize for Playwriting, the play is authentic, and poetic as it delves into the complexities of relationships. I adored how Lombe’s writing acknowledges the vulnerability we exude when it comes to love. Throughout this powerful two-hander, we watch Des and Dre navigate their friendship-turned-relationship, through affecting moments.
Lombe sensitively incorporates the impact of grief and trauma on Des and Dre’s relationship, but also the heavy burden Des carries in regards to being a Black woman. This was something I and members of the audience audibly agreed on as Des emotionally described how society interacts with Black girls.
The story makes us question whether the ‘right person, wrong time’ is true and if soulmates do exist (I believe they do!).
Photo by Craig Fuller
Tosin Cole and Heather Agyepong take to the stage with undeniable chemistry. The dialogue between them is pacy, and filled with playful jokes that double up as flirtatious. They banter about African parties, the school’s debate club, and Nigerian vs Congolese music. I found myself smiling numerous times at their exchanges and how real the performances were. My memorable moment was Des tending to Dre’s hair; this simple yet profoundly intimate moment beautifully showed the bond between the pair. That soft, playfulness remains even years after they last met.
Agyepong’s Des is self-assured and full of sharp wit, while Cole is the epitome of cool, calm and collected, even in moments of sadness. Cole and Agyepong deliver the most captivating performances I’ve seen in a romantic play. Even during quieter moments, their passion speaks volumes. Directed by Lynette Linton, there is a playful energy between our two leads. The non-linear structure flows naturally, revealing layers of Des and Dre’s relationship with each passing year.
Photo by Craig Fuller
Alex Berry transforms the main space with a minimalist traverse staging, while Neil Austin’s stunning lighting illuminates the stage. The lighting is visually striking as we walk into the theatre and throughout the show, these lights effectively capture the shifting timelines in the story. The bold hues of greens and reds during Des and Dre’s youthful years, become dimmer as we move to present-day. I would have loved a solid conclusion to round off the story, but perhaps the ending was meant to be ambiguous.
The show is a powerful reminder of our experiences with long-term connections, and will leave audiences utterly moved. With stellar performances and evocative storytelling, Lombe’s play balances humour and heartbreaking scenes, and altogether is an authentic portrayal of young love. Shifters is another example of Bush Theatre continuing to share new, powerful and diverse stories!
Shifters plays at Bush Theatre until 30 March 2024.
From the multi-award-winning writers of SIX, Toby Marlow & Lucy Moss, comes their all-new, highly anticipated second musical, WHY AM I SO SINGLE? This Big Fancy Musical follows two besties through the ups, and mostly downs, of their dating lives in the era of Tinder (and Bumble and Grindr and Hinge and Feeld). This musical extravaganza about love, dating, friendship – and bees – explores the weird and wonderful hilariousness of being single.
A celebration of friendship and love, WHY AM I SO SINGLE? asks how two super interesting, super cool, super fun pals could possibly still be single?!? This extraordinary and totally unexplainable situation faced by our fabulous duo is made even more complicated by the fact that, on a completely unrelated note, they also need to find a really great topic for their next musical.
Lead casting has been announced.
Jo Foster (& Juliet; Just For One Day, West End;) will return from the show’s early workshop to co-star in this epic musical for the ages. They will be seen alongside the newly cast Leesa Tulley
(SIX, UK Tour; Kin, Theatro Technis) as their bff. Together they will navigate the difficult modern dating world and how to flirt with your Deliveroo driver, all with their best friend firmly by their side. They are joined on stage by Noah Thomas (Everything Now, Netflix; Everybody’s Talking About Jamie, West End). The ensemble casting is to be announced.
Featuring epic pop and musical-inspired songs by the dynamic writing team of Marlow & Moss (described by British Vogue as the ‘future of musical theatre’), and high-energy choreography by Ellen Kane (Matilda the Musical, Working Title Films; Dear England, National Theatre/West End), WHY AM I SO SINGLE? is set to dazzle the dating world this autumn.
Toby Marlow and Lucy Moss comment, This is ultimately a musical about two friends, their desire for love, and how they deal with loneliness. We hope people come away feeling super uplifted. And we hope they text someone the second they leave the theatre saying ‘omigosh just fyi i love you soooo much!!!!’
Running Time: 2 hours 30 minutes (including an interval) Age Guidance: 14+, contains adult themes and language Access https://thegarricktheatre.co.uk/your-visit/#tab-access
Accessible Performances: Saturday 21st September 2024 (Audio Described) Friday 18th October 2024 (BSL interpreted) Saturday 25th January 2025 (Captioned)
🎭 The Boy at the Back of the Class 📍Rose Theatre 🎟️ PR invite ⭐⭐⭐⭐⭐
Onjali Raúf’’s award-winning children’s novel into a stage adaptation, The Boy at the Back of the Class makes its world premiere with a timely and moving story that resonates deeply.
The story
The story follows the journey of Ahmet, a nine-year-old boy fleeing a war-torn Syria who finds himself in a British school, separated from his parents. Ahmet sits in the empty chair at the back of the Year 5 class. He’s quiet and doesn’t speak fluent English, leaving the other children intrigued to know more about him. They invite Ahmet to play football, share Sherbet Lemon sweets and even write down questions to ask.
When Ahmet’s classmate, Alexa, overhears some of the parents making rude comments about refugees and rejoicing over the country ‘closing the borders’, she and her friends, Josie, Michael and Tom, embark on a daring mission to reunite Ahmet with his family before times runs out.
Narrated from the children’s perspective, we go on a funny, unexpected and heartwarming adventure. The Boy at the Back of the Class strikes the right balance between humour and heart and exemplifies the importance of friendship, kindness and hope.
Photo by Manuel Harlan.
My thoughts
Adapted for the stage by Nick Ahad, The Boy at the Back of the Class is a timely and moving piece of theatre. Its powerful message resonates with audiences of all ages, reminding us of the profound impact of compassion in a world often divided by prejudices. The narrative being told from the nine-year-old’s point of view is a brilliant and engaging style of storytelling. We learn about the struggles Ahmet faced and the attitude towards refugees from his peers, teachers, and even the media.
Farshid Rokey is strong in the role of Ahmet, as he embodies the apprehensive nature of a child adjusting to a new environment. Sasha Desouza-Willock wonderfully plays Alexa with inquisitiveness and confidence to help Ahmet. She is supported by Josie, Michael and Tom (Petra Joan-Athene, Abdul-Malik Janneh, Gordon Millar) as they prepare for their ‘A-Team’ style mission (ironically to the theme of 007!).
Photo by Manuel Harlan.
Ryan Day and Giles Thomas’ lighting and sound design are slick and perfectly timed. Although I haven’t read the book, I imagine these creative choices have accurately brought the story to life, elevating this stage production even more. What I enjoyed is how the show encourages us to use our imagination. Monique Touko expertly directs the show, with playfulness and a captivating energy that immerses us in the children’s world. Paired with Kloé Dean’s movement direction, which sees the characters running around, doing roly poly’s and swinging off the set.
Lily Arnold’s set design cleverly mimics local landmarks and everyday British school scenes, creating a sense of familiarity and even nostalgia (the school apparatus!). The versatile set allows for seamless scene transitions too, transporting us from one location to another. I was also impressed with how the production incorporated basic props to elevate and portray certain scenes.
Photo by Manuel Harlan.
Similarly, there are strong performances from the ensemble as they flawlessly transition between characters; from children to parents to market sellers to even the Queen’s Guards. The talented cast performs an array of distinct, hilarious and diverse characters, who all play a part in Ahmet’s journey. While there was some hostility from the bullies at school and bigoted parents, there were also members of the community who showed care and willingness to support. These examples of empathy and solidarity are echoed throughout.
The show highlights the humanity of refugees through the character of Ahmet. His new friends realise they hold shared interests such as football and favourite foods, just like them. Between adventure and humour, lies a beautiful and important story – it’s hard not to get emotional! The determination and courage of the young characters, using their voices to support Ahmet is incredibly inspiring.
Photo by Manuel Harlan.
As part of Rose Theatre’s collaboration with the Children’s Theatre Partnership, the production is a powerful in raising awareness and engaging children in discussions of refugee rights.
The Boy at the Back of the Class encourages us to practice kindness and embrace differences. The show is for audiences of all ages and comes at a time when compassion is needed more than ever. It serves as a necessary reminder that everyone deserves a home.
The Boy at the Back of the Class plays at Rose Theatre until 22 February 2024 before continuing on tour.
Today, the Royal Court Theatre and Nimax Theatres welcomes six new cast members to the For Black Boys family. Starring in the iconic roles of Onyx, Pitch, Jet, Sable, Obsidian and Midnight are a powerful new blend of talented actors including Tobi King Bakare, Shakeel Haakim making his professional debut, Fela Lufadeju, Albert Magashi, Mohammed Mansaray and Posi Morakinyo respectively.
The brand-new ensemble will be directed by Ryan Calais Cameron. The six will bring their own interpretation and lived experiences to their respective roles, infusing a fresh dynamic and energy to this transformative theatrical experience which uniquely mixes music, movement, storytelling and verse.
Writer Ryan Calais Cameron was inspired by Ntozake Shange’s seminal work For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf. For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy is located on the threshold of joyful fantasy and brutal reality where six men clash and connect in a desperate bid for survival.
About the new cast Ryan Calais Cameron, writer and Nouveau Riche Artistic Director, said: “The themes explored in the play are timeless, and I am genuinely thrilled about the prospect of witnessing the new cast infuse their own unique energy and brilliance into the production. Each member brings a wealth of talent and dedication to their roles, and I am confident that their interpretation will breathe new life into the narrative.”
You can book tickets to For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavyhere.
Written by Ins Choi, Kim’s Convenience revolves around Korean-Canadian family, The Kims, who run a convenience store in Toronto. Based on Choi’s experiences growing up, the play offers a hilarious yet heartwarming insight into the experiences of immigrant families navigating life in a new country.
Choi plays the lead role, Appa, the stubborn and often blunt patriarch of the family. When Mr Lee informs Appa on the recent regeneration in the area, Lee suggests Appa sells the store. The conversation prompts Appa to talk to his photographer daughter, Janet, about taking over the family store, despite her lack of interest. The play also touches upon the strained relationship between Appa and estranged son, Jung. At just 80 minutes long, Kim’s Convenience highlights the struggles when bridging generational and cultural gaps. The show focuses on family dynamics, with the characters partaking in intense discussions about their hopes and dreams, further highlighting the cultural differences within the Kim family.
Photo by Marc Douet
My thoughts
Upon arrival at the Park200, it’s Mona Camille’s striking set design that instantly catches our eyes. The vibrancy and fantastic attention to detail provide a familiarity with all the local convenience stores we’ve entered. In later scenes, Jonathan Chan’s soft lighting transports us to another significant place for the family, with religious symbols dimly lit in the background.
Esther Jun’s direction strikes a good balance between the humorous and serious scenes. This allows the audience to fully understand the characters and see a vulnerable side to them, beneath their wit and humour. The second half showcases sincere moments between the family members, revealing their true dreams and hopes for one another.
Photo by Marc Douet
There are strong performances from the cast of five – Janet (Jennifer Kim), Jung (Brian Law), Alex (performed by Miles Mitchell who does some impressive multi-role playing!) and Umma, played by Namju Go. Umma quietly graced the stage and only spoke to Appa in Korean. I would have loved to have seen more of Umma on stage and further exploration into her character. Particularly as we saw she had a stronger relationship with their son, Jung. Ins Choi completes the cast, playing Appa, with a fantastic stage presence and hilarious comic delivery.
As the play goes on, it was nice to see Appa’s stoic exterior melt away, albeit briefly, during conversations with his children. Choi’s characterisation of Appa shows he is a hard-working father with a big heart. There is a flashback scene that is succinct but significant enough to reveal Appa and Umma’s sacrifices when they first moved to Canada. Choi’s writing skilfully acknowledges the challenges of adjusting to new ways of life and values. As a child of immigrant parents, these scenes felt incredibly relatable!
Photo by Marc Douet
First staged at the Toronto Fringe Festival in 2011, this play won many plaudits for its East Asian representation and went on to become adapted into a successful five-season TV series. Described as a love letter to first-generation immigrant parents, Kim’s Convenience is a joy to watch. I am always glad to see authentic representation on theatre stages. The show is embedded with Korean culture, packed with hilarity, and makes a heartwarming family story.
Kim’s Convenience is playing at Park Theatre until Saturday 10 February 2024. You can buy tickets here
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