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
Jessica Hagan’s new comedy play heads to New Diorama Theatre for an entertaining and insightful production on Black womanhood, sisterhood, motherhood and…babies!
The story
Following an unforeseen breakup with her long-term boyfriend, Dami (Jordan Duvigneau) and feeling constantly overshadowed by her happily married younger sister, 29-year old Ama (Anita Uwajeh) sets out on a quest to embrace motherhood. Ama has made great achievements including securing her own home and a successful career, but as she approaches her late twenties, she believes the missing piece in her life is a child.
Ama navigates a rollercoaster ride that includes grappling with a shortage of available Black sperm donors, confronting a racially biased healthcare system, and dealing with her own demanding family. Still, Ama charges ahead with determination. Along the way, she finds herself entangled in awkward encounters, even more awkward conversations and defiant decisions. With the clock ticking, Ama’s sense of urgency only intensifies.
Photo by Cesare De Giglio
My thoughts
The show opens with sisters, Ama and Jade (Jahmila Heath), as Ama delivers a scathing commentary on a peer’s fifth pregnancy. Together, the two light up the stage with their quick wit and humour, setting the tone for the show. As they listed all the societal pressures and expectations they were told as teenagers, I enjoyed watching their convincing sisterly bond. The show featured pop cultural and TV references, including a notable scene from The Real Housewives of Atlanta. While this had the audience immediately engaged, with some even reciting the scene, I found this to be a smart foreshadowing technique for the events to come.
Brenda’s Got A Baby was jam-packed with jokes that had the audience in constantly laughing. Hagan’s script is razor-sharp, witty and performed wonderfully by the cast of 5. Whether it was Dami’s audacious attitude, Jade’s innocence or Skippy’s (Edward Kagutuzi) naive but charming nature, I found the characters incredibly fun to watch. They had such natural chemistry and charisma throughout.
Photo by Cesare De Giglio
Michelle Asante gave a strong performance as Ama’s mum, with the exaggerated facial expressions and hilariously outlandish remarks. I couldn’t help but wonder how this character was so identical to my own Ghanaian mother (bravo to the team!) The infusion of the Ghanaian dialect, Twi, added to her character’s charm. Anita-Joy was utterly brilliant in the role of Ama and displayed great stage presence. The character’s overly sarcastic demeanor worked well with Uwajeh’s seamless comedic timing. Among the hilarity, I adored the poignant scene between Asante and Uwajeh as they portrayed a beautiful, mother-daughter bond.
Photo by Cesare De Giglio
The jigsaw set design by TK Hay added a colourful and playful dimension to the story, reflecting Ama’s vibrant dynamics of her family, but also the inner thoughts of her fragmented life. As Act 2 peeled back the layers of Ama’s vulnerability, we also learn more about her younger sister, Jade’s, health. I wished this particular scene wasn’t so hysterical between the characters. Though various revelations come to light, Jade’s announcement felt hurried. This would have been a significant plot to the story and further discussion into black women and healthcare.
Khalil Madovi provided subtle shifts in sound whenever babies and marriage were mentioned to Ama. This conveyed a strong sense of isolation, a theme that unfolds throughout the play. Anastasia Osei-Kuffour’s direction paired incredibly well with Madovi’s distorted sound design, both effectively mirroring the disjointed pieces of Ama’s life. The relentless (and literal!) countdown, symbolizing a ticking body clock further added to her desperation. It’s quite a tough experience to watch as Ama frantically paces around the stage, undergoing questionable actions. Osei-Kuffour skillfully balances between the playful direction in Act 1 to the sombre Act 2, where coercive cracks begin to surface.
Photo by Cesare De Giglio
I appreciated the show for addressing the societal pressures women face. But also acknowledging the issues within black women’s maternal care and health, with the inclusion of statistics that I wasn’t even aware of! Jessica Hagan is a talented writer, and cleverly blends satire with sensitivity, ensuring that the humorous moments do not overshadow the serious undertones.
Brenda’s Got A Baby is a brilliant production, offering constant laughter, thought-provoking themes, and a cast that delivers a marvellous performance!
🎭 Around The World in 80 Days 📍 Richmond Theatre 🎫 PR invite ⭐⭐⭐⭐
Jules Verve’s famous novel ‘Around The World in 80 Days’ has been transformed into a new, vibrant theatrical adaption, directed by Juliet Forster. The Tilted Wig production is a delightful, fun, colourful show, that would make the perfect family evening out!
The story
The story begins with a group of travelling performers, who embark on their most daring venture yet: recreating the adventures of Phileas Fogg. Phileas Fogg of London (Alex Phelps) attempts to travel the world in 80 days, on a wager of £20,000, a bet set by his snobby companions at the Reform Club. Phileas and his newly employed French valet, Passepartout (Wilson Benedito), set out on a race around the world. The 1873 novel is retold with a mix of adventure, comedy and a touch of history that I hadn’t known!
The show does not only focus on Phileas Fogg’s journey; it intertwines fact and fiction, sharing the remarkable story of Nellie Bly, an American journalist known for her record-breaking trip around the world in 72 days. This adaption brings to life the original novel in an exciting and engaging way!
Photo by Anthony Robling
My thoughts
This production is lighthearted, silly at times and has a modern take on Jules Verve’s story. Sara Perks’ stage design is visually stunning, with bright primary colours that emulate a circus atmosphere. I noticed the cast’s microphones weren’t as loud as we would have expected. Some moments also could have benefitted from a bit of background music to add emphasis to the scenes. The pacing felt slow in Act One, but this soon picked up, particularly as we saw more slapstick comedy scenes – including a lengthy circus act that involved tiny bicycles, hula hoops and whips!?
The strong cast of five is completed with Genevieve Sabherwal, Eddie Mann and Katriona Brown, who showcase their talent through energetic multi-roleplaying. I enjoyed Brown’s performance as Nellie Bly; having her story alongside Phileas Fogg’s added a modern, feminist approach to the story. I wanted to snap my fingers in solidarity when Bly exclaimed; “I said I could, and I would. And I did.” Additionally, I really liked how the characters took moments out of the retelling to challenge the traditional text and call out historical inaccuracies and culturally insensitive terms.
Photo by Anthony Robling
Eddie Mann gave a standout performance in the role of Detective Fix. The actor commanded the stage with their impeccable comedic timing, and I found myself laughing out loud numerous times. Mann worked brilliantly alongside Benedito, who also did a great job with the comedy, shown through the moments of audience participation and improv. The improvisation in the show was certainly one of the highlights, adding an element of surprise to the performance. The actors also break the fourth wall, further allowing the audience to become a part of the show. These interactive elements kept us engaged and entertained throughout.
Another standout was the movement direction by Asha Jennings-Grant, which was incredibly inventive The cast was slick with their moves, the scene changes and utilised each and every prop to demonstrate this raucous journey across the globe.
Photo by Anthony Robling
With a unique take on a classic story, a talented cast, and great comedic moments, this production of ‘Around The World in 80 Days’ is sure to be a hit with audiences of all ages.
‘Around The World in 80 Days’ plays at Richmond Theatre until Saturday 20 May 2023!
Matilda Feyiṣayọ Ibini’s new play, Sleepova is an authentic, funny and moving piece of theatre. We follow 4 Black millennial girls as they gossip, joke, and quarrel during their sleepovers and navigate through their teenage years. Directed by Jade Lewis, Sleepova is a beautiful representation of Black sisterhood and a total joy to watch!
The story
The show begins in 2016, in East London, with four childhood friends celebrating Shan’s (Aliyah Odoffin) 16th birthday with their first-ever sleepover. Shan is vibrant, and full of enthusiasm, despite her long-term health condition. Then we have Elle, the incredibly devout Christian (Shayde Sinclair) and Rey (Amber Grappy), the cool and confidently queer friend. The quartet is complete with the exuberant and proud Yoruba, Funmni (Bukky Bakray).
Spanning over two years, we witness the girl’s rocky transition from adolescence into adulthood. From prom nights, A-Levels, sexuality, and grief, they grapple with the idea of being friends forever as life doesn’t pan out quite how they had imagined…
Photo by Helen Murray
My thoughts
Sleepova is heartwarming, honest and utterly hilarious. The show is a fun-filled bubble of nostalgia – Ibini perfectly encapsulates the experiences of teenagers.
I appreciated every pop cultural and online meme reference that was effortlessly woven into the script. The subtle set and lighting design were effective enough to establish the scenes and varying locations.
The cast was simply fantastic in their roles. The natural chemistry between them made the scenes even more genuine- it felt like we were watching a real-life group of friends at a sleepover.
Photo by Helen Murray
Sinclair’s Elle is well-mannered and seemingly brainwashed by her religious parents. As Elle battles with her identity, I enjoyed her and Rey’s scene together. It was heartbreaking and the pair displayed such raw emotion. Bakray’s Funmi is captivating, and charismatic, showcasing impeccable comedic timing. I loved the Yoruba phrases Funmi would inject into their speech. Similarly, Odffin performs with wonderful enthusiasm. Despite the character’s chronic illness, this rarely dampens her spirit and she appears to be the glue keeping the girls together.
The second act is far more emotional and features a poignant finale. The characters go through different experiences but what remains the same is the abundant support. Even during their ups and downs, the girls’ loyalty and sisterhood make this play so special.
Photo by Helen Murray
Described as an ‘ode to black women’, Ibini has successfully crafted a relatable play, with honest representation that acknowledges many aspects people may face in life; long-term illness, family struggles, sexuality and grief.
With unique characters performed by a talented cast, Sleepova is a beautiful, modern coming-of-age story depicting teenage dreams and sisterhood. It’s playing at Bush Theatre until 8 April 2023.
All performances of Sleepova are in a relaxed environment. Audiences are free to respond how they like, free to laugh loudly and dance to the music. It makes the experience all the more worthwhile.
Bush Theatre continually stage authentic & diverse stories – it’s the representation needed on theatre stages. I am filled with joy whenever I visit the venue. Their accolades are so well deserved and I’m extremely excited for their future!
Willy Russell’s award-winning musical, Blood Brothers heads to Richmond Theatre for an emotionally compelling production that explores family, fate and social class.
Directed by Bob Tomson and Bill Kenwright, the musical follows twins separated at birth, not knowing their relationship and leading very different lives. Russell has written a striking story, depicting nature vs nurture, class inequality and the impact this has on our lives.
This was my first time watching the production, which opened in 1983. I was eager to know more about the nation’s much-loved musical.
The story
Set in Liverpool during the 1950s,Mrs Johnstone (Niki Colwell Evans), a single, hard-working mother of 7 falls pregnant with twins and worries about the financial burden. Mrs Johnstone is approached by the rich, middle-class Mrs Jennifer Lyons (Paula Tappenden) who offers to take one of the twins and raise him as her own. Mrs Johnstone makes the heartbreaking decision and they both agree to never let the brothers know the truth.
The brothers meet when they are 7 years old, unbeknownst about their relationship, and quickly become best friends – or as they called each other, “blood brothers”. Their friendship quickly blossoms, despite the stark contrast in their lives.
Photo by Jack Merriman
Mickey (Sean Jones) youngest of seven siblings, grows up in a working-class area of Liverpool, while Eddy (Joe Sleight) is the only child of a wealthy family who lives nearby. As they grow older, their bond slowly fades. The brothers go down different trajectories and have opposing opportunities afforded to them.
My thoughts
The Narrator (Richard Munday) guides us through the story and shares a forewarning of the brothers’ fate. Munday’s intense stage presence and strong vocals paired perfectly with Nick Riching’s powerful lighting. A beautiful score plays throughout, although the music was a little too loud at times, which made it difficult to hear the lyrics.
Jones and Sleight delivered fantastic performances; I was impressed with the range of emotions they showcased throughout the musical. Initially, I felt distracted by adults playing 7-year-olds, but I must commend the cast for their abilities to accurately portray the different life stages. Olivia Sloyan (who played childhood sweetheart, Linda), Jones and Sleight expertly captured the naivety and energetic playfulness among children. The ensemble also did brilliantly in their supporting roles, and I enjoyed how animated they were.
Photo by Jack Merriman
It was endearing to watch the two boys, whose parents tried so hard to keep them apart, become so close. The lighthearted humour balanced nicely against the more sinister and heart-rending second act. Mickey and Eddy’s social differences became more apparent as they grew older. From what they wore, to how authorities treated them, and their financial situations.
Jones takes us on an emotional rollercoaster. He puts on a strong performance in the second act as we witness Mickey’s depression following his time in jail. It’s heartbreaking, especially as it appears Eddy has his life together.
Photo by Jack Merriman
Evan’s flawless vocals and raw emotion in every scene made her a total standout in this musical. We smiled as she sang about her love for dancing and when the family were rehomed. We sympathised as she battled with debt collectors. The finale song ‘Tell Me It’s Not True’ was emotionally moving – I wasn’t surprised to hear a few sniffles from the audience.
Despite being written over 40 years ago, the story feels relevant in the present day as the UK faces economic hardship amidst the cost-of-living crisis. Blood Brothers is poignant, powerful and certainly a classic musical.
It’s playing at Richmond Theatre until 25 February 2023, before continuing its UK tour.
🎭 Chicken Burger N Chips 📍 Brixton House 🎫 Gifted ⭐⭐⭐⭐⭐
“The world wasn’t designed for us to succeed playboy, you gotta clock that we’re living in an uneven society.”
Written by Corey Bovell and directed by TD. Moyo, Chicken Burger N Chips is a fast-paced, witty play that tells a story about gentrification and the impact it’s having on the lives of its youths.
Set in South London, Bovell has produced an authentic coming-of-age story, full of nostalgic references, notable music and the most upbeat performance.
The story
Summer holidays are here and 18-year-old Corey awaits his A-Level results. During his regular routine of hanging out in fast food chain, Morleys with the mandem, Corey meets Jodie, who makes him realise the changes occurring in the Lewisham borough. The more time spent together, Corey grapples with the notion of staying in ‘ends’ or leaving to pursue his dreams.
The play explores gentrification as Corey watches local Lewisham landmarks be demolished and replaced with flats, yoga mats & hipsters – leaving no shops, no markets, and no culture.
A run-in with rivals further touches on the impact of gang violence and the fear and uncertainty this causes amongst young Black men. As a friend tells Corey that “we live in an uneven society”, Corey wonders what the future holds for him.
Photo by Helen Murray
My thoughts
TD. Moyo creatively directs the performance with Corey (played by Gamba Cole) cooking fried chicken live on stage as shares his story. This was a fascinating directional choice from Moyo, that didn’t interrupt the flow of the play.
Allyson Julien’s set design accurately represented a family kitchen; photographs on the fridge, a noughties-looking stereo, Ainsley Harriot cookbooks and Dunn’s River seasoning on the counter. Cole utilises the entire space as he shares his adoration for Lewisham. He describes Morley’s as the ‘beacon of South London’, and it’s clear the food spot became a sanctuary for him and his friends.
Photo by Helen Murray
Gamba Cole puts on a fantastic performance as Corey in this solo show. Cole oozed charisma and humour in the role, keeping the audience engrossed all throughout.
Bovell’s writing is engaging, witty and sparks pure joy, which is exactly what Cole delivered. I laughed a lot during the performance, especially during the scenes in Morley’s.
There was multi-roleplaying from Cole as he effortlessly transformed into different characters in the story. Cole impressively showcased a range of mannerisms. Each character portrayal felt relatable, adding even more depth to the story. Additionally, Ben Garcia’s seamless lighting design did well to indicate the transitions between characters. The show also featured musical interludes of various genres, and the audience couldn’t help but join in.
Photo by Helen Murray
Overall, Chicken Burger N Chips is captivating, filled to the brim with enthusiasm and joy. It’s incredibly moving as Bovell incorporates important themes throughout. At its core, the show is a celebration of South London. It also takes its time to explore issues teenagers face and the socio-economic impacts of gentrification in working-class areas in London.
As a Millenial that grew up in South London, eating Morley’s every other day after school, I am thankful that this play exists. I hope it returns for an even longer run on stage!
🎭 I am not Black 📍 Barons Court Theatre 🎫 PR invite ⭐⭐⭐⭐
Written and performed by Akin Wright, ‘I am not Black’ is a coming-of-age story, exploring one man’s plight of growing up in an environment where he was ‘‘too white for the black kids and too white for the white kids”. Directed by Joseph Junkere, this one-man show is funny, powerful and an honest exploration of the black experience.
The story
When Temz Thomas (Akin Wright) is invited by his former school to give a speech to current students, this sparks a trip down memory lane. As he finds an old Blackberry phone, Temz begins to reminisce of his experiences at school. He reveals the microaggressions and casual racism faced during that time and reflects on what it was like to feel as though he didn’t belong.
As Temz dresses in school uniform, he shares what it was like being at a private all-boys school, where he was one of few black students, and made to feel othered. Temz succumbed to the jokes about his race as well as the negative and ridiculous stereotypes about Black people. We also discover the jokes sadly continued outside of school, and in his church community.
My thoughts
Wright incorporates many colloquial phrases and cultural references that were all too familiar to me. Blackberry phones, Channel U, and even the CGP GCSE books sprawled on the floor took me back to my own younger years. The set design was simple but was enough to transport the audience back to Temz’s school days.
Racism is a key theme throughout the play, as well as belonging. It’s tough to hear, but I commend the script for being authentic and not diminishing the experiences many young black kids have faced.
Wright’s storytelling is engaging, and they successfully capture our attention for all 60 minutes. The writing is entertaining, quick-witted, and included so many nostalgic references that made me chuckle (The Blackberry battery hack was such a throwback!). There’s also a nice balance between the humour and the serious nature of the topic.
I enjoyed the pacing of the show. Even with all the content and backstories, it didn’t feel rushed. There was multi-roleplaying from Wright, as they portrayed the supporting characters in Temz’s life. At times, it was difficult to keep up with the number of characters in the story. Wright did a great job at performing them all and I particularly liked the use of audio during conversations with other characters.
The second half was the strongest, as we saw even more emotion from our protagonist. Temz lets out pent-up frustrations from the years of casual racism faced by his peers, teachers, and his own community. Under Jinkere’s powerful direction, we see Temz sit in the middle of the stage, lights dimmed, revealing a written wall of racial slurs and microaggressions. This was my standout and such a profound way to echo the stories Temz shared.
In an impassioned poem, Temz rightfully expresses that black people are not a monolith. We are unique. Personally, I am proud there are shows like ‘I Am Not Black’ that have the platform to share our unfiltered stories and experiences.
‘I am not Black’is playing at Barons Court Theatre until 4 February. (Although tickets have sold out!)
🎭 Ripe Tomato, After Peribañez 📍 The Cavern, VAULT Festival 🎫 PR invite ⭐⭐⭐⭐
“Jealousy is the price you pay for love.”
The story
Written by Siofra Dromgoole and Gráinne Dromgoole, Ripe Tomato is a modern adaption of the 16th-century Spanish tragicomedy, Peribañez. The premise remains the same but has been reworked into a ‘Queer Epic’, with a focus on relevant issues in our society today. Taking place in South London, Cass and Peri are celebrating their nuptials with their best friends, when a man has an accident right outside the home, they have been squatting in. As Cass tends to this wounded stranger, it’s revealed the man is the landlord of the property. The landlord, Jeremy, takes an instant liking to Cass, and we see his crush turn into a manipulative series of events.
My thoughts
Directed by Avigail Tlalim, this is a stripped-back production, with minimal props, allowing us to focus entirely on the characters and their interactions. The friendship between Cass, Peri, Ines, and Ben (Gráinne Dromgoole, Yohanna Ephrem, Camila Segal and Charlie Collinson) is endearing to watch. Their dynamic isn’t perfect, and even with each of them going through a personal struggle, they still looked out for one another.
Gráinne Dromgoole’s Cass is calm, soft-hearted, and reliant on her wife, Peri, and her friends. Peri is assertive and immediately questions Jeremy’s motives as he buys gifts for Cass. This contemporary take touches on relevant topics affecting us today, such as the housing crisis. Ephrem is a passionate performer and showed a great range of emotions throughout the play. From her impassioned speech about the state of the housing system to a more vulnerable side when she speaks about her love for Cass. There were powerful performances all round.
Os Leanse was another standout as they convincingly played the selfish and obsessive Jeremy. We could feel the desperation and couldn’t help but laugh at his attempts to woo Cass. From reciting (the wrong) romantic Shakespeare lines, arranging household repairs to even questioning her sexuality! Overcome with jealousy, Jeremy ultimately abuses his power, which leads to come conniving actions. He’s supported by his witty assistant, Lujana (Olivia Mills) who also forms a connection with Ines.
One improvement would be the accompanying music; at times, it was playing louder than the dialogue, especially with the acoustics of the venue space.
Siofra Dromgoole and Gráinne Dromgoole have written a strong piece of theatre, that had us engrossed from start to finish. It’s a clever take on a literary classic, and representative of our society today. I’m excited to see where this production goes next!
You can catch Ripe Tomato, After Peribanez at The Vaults Festival on 18 and 19 February. Visit here to get tickets!
Steel Magnolias revolves around a group of Southern women in Louisiana who regularly meet at the local hair and beauty salon run by Truvy (Lucy Speed). The play spans a few years, as we see the group laugh, cry, bicker, and, importantly, build meaningful friendships.
Written by Robert Harling, Steel Magnolias is based on Harling’s family tragedy and adapted into the 1989 film with an ensemble cast, including Dolly Parton and Julia Roberts.
The story
The first scene takes place on the day of Shelby’s wedding as all the women appear in the salon. Truvy introduces her new, eager assistant, Anelle (Elizabeth Ayodele) to the ladies. Shelby (Diana Vickers) is confident, cheeky and has a likeable aura about her and often disputes with her mother, M’Lynn (Laura Main). M’Lynn, who is quite the contrast, is overprotective and worrisome over her daughter’s choices – from wedding flowers to hairstyles. Completing the group is Clairee (Caroline Harker), former First Lady of Louisana and the incredibly witty, Ouiser (Harriet Thorpe).
We soon learn of Shelbie’s diabetic health condition, which risks her life as she desires to become a mother. The drama centres around this and the tragic events to come.
Photo credit: Pamela Raith
My thoughts
Steel Magnolias is a good representation of strength and the importance of being unified in tough circumstances. Directed by Anthony Banks, the first act did well to establish the varying personalities amongst the group. While I admired watching the bonds the characters formed, I couldn’t help but feel the play suffered some pacing issues. Act 1 felt drawn out, and almost as though nothing was happening. Once Ouiser entered the stage, their one-liners bought the much-needed humour and energy the show required.
The production takes place entirely in the salon; the set and costume design are quintessentially 80s, representing the era well. Laura Hopkins’ set includes neon signs, photos of Dolly Parton and a ‘the higher the hair, the closer to God’ poster. Kulkari’s costume choices similarly showcased typical eighties attire. The characters have several outfit changes, between bright, bold mismatched prints and varying wigs with scrunchies.
There were a couple of moments where lighting cues were missed, and I also noted that the Southern accents were not as strong as we would hope. Described as a comedy-drama, some jokes fell flat, while others I didn’t really understand. This could be a case of the script being written for its time and not as culturally relevant today. It would be interesting to see a total revival of this play mainly as the themes are key.
Photo credit: Pamela Raith
The cast worked well together, and their friendship appeared natural. Diana Vickers’ was a standout and gave an authentic performance in the role of Shelby. Lucy Speed was also wonderful as the kind-hearted, reassuring friend to them all, especially in Act 2.
I liked how the salon signified a safe space for the characters. We watched them experience love, laughter, and loss. It’s unfortunate circumstances, with the final scenes proving to be the most powerful. The tragedy brings the group closer, emphasising the true meaning of friendship.
Steel Magnolias is playing at Richmond Theatre until 28 January 2023, before continuing its tour.
English