You are pressured to “swallow your screams”, says an anguished father concerning the lack of his son. It is among the many piercing moments on this shifting drama about grief, psychological sickness and the dangerous tradition of silence that surrounds them throughout the British Caribbean group.
An inter-generational drama that reveals the emotional landmines that this silence has left in a single household’s life, we're taken from a gap scene of bonding between siblings, Joshua (Nickcolia King-N’da) and Gloria (Velile Tshabalala), to a flash-forward by which he has died – his demise by no means overtly spoken of once more – and he or she has suffered from “bipolar dysfunction” for years, which is hidden from the broader group.
Sian Carter’s debut play showcases her ample expertise and locations her squarely as a star within the making. It's gratifying too that this co-production with Talawa Theatre Firm finds a house on a big stage, which it fills with energy and ache but additionally sparks of pleasure.
Directed by Michael Buffong, its tempo is initially gradual but it surely finds its toes within the second half and there are some extremely poignant scenes. Gloria’s 16-year-old daughter, Imani (Ruby Barker, understatedly sensible) speaks concerning the psychological legacy of her mom’s psychological sickness – she is usually left within the care of her grandparents, Shirley (Suzette Llewellyn) and Maxwell (Wil Johnson), in a charged change, and there are bristling mother-daughter battles between Gloria and Shirley too.
The position of the church on this household’s life options in sophisticated methods. Maxwell, a pastor, tells a silently sceptical Gloria that the “gospel can heal you”, however in one other scene he himself rails towards his religion’s lack of ability to minimize his grief after his son’s demise.
Alongside this there's pleasure: in music, dance and in household love which is palpable and heartfelt in each the writing and performances. Imani’s relationship along with her grandparents is especially tender, whereas the cuddly Maxwell and indomitable Shirley are so charismatic a double act that their story threatens to eclipse different components of the plot.
The script solely wants tightening to lift it to larger heights however the jumbled set – a front room with revolving staircase and stars overhead – appears to be like incoherent and isn't helped by generally clunky lighting.
These niggles apart, this can be a potent piece of theatre which, curiously, additionally has the episodic tempo and rhythm of a TV drama. We all know and care about this big-hearted household sufficient by the top to need extra.
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