It’s important to acknowledge that audience demographics have broadened considerably over the past 30+ years but it has only been noticeable in very recent times that theatre productions have begun to appear which are aimed specifically at a black audience or have stories which are told almost entirely from an informed black perspective. This production, whilst relying heavily on its comedy skits and moments of energetic song and dance, packs its strongest punch in attempting to unravel what it means to be a young black man today and the particular pressures each faces as they navigate the pathway to manhood. The tropes are all covered — police stop and search, gangs, knives, absentee fathers, sexual prowess, lower academic achievement, religious pressures, and the continuing non-acceptance of homosexuality within most black communities.
There was a palpable sense of brotherhood (both on stage and in the audience) when any sections conveyed details of the constant pressure on young black men to present confidence and strength and to disguise weakness and vulnerability with bravado. We are now more conscious and aware that such behaviour has a demonstrable impact on mental health, which links back directly to the production’s catchy title. Sure, the troupe of guys may square-up, josh, goad and mock each other, but unlike previous generations, they also know when to offer support, a hug, and to say “it’s OK to cry”. Among the many reasons to see the show, it is this element which most resonates.
The universally strong and charismatic cast includes: Tobi King Bakare, Shakeel Haakim, Fela Lufadeju, Albert Magashi, Mohammed Mansaray and Posi Morakinyo.