In the book ‘Between the World and Me’, author Ta-Nehisi Coates’ brilliant and blistering examination of American race relations, he states that the ongoing condition for African-American men and women in the United States is one where they are constantly at threat of “Losing their body”. This disturbing phrase kept coming to mind last night while I was watching the National Theatre’s excellent new production of August Wilson’s first hit play MA RAINEY’S BLACK BOTTOM. In a month where African-American actors are protesting the Academy Awards for lack of representation it is dispiriting to find that a play written in 1982, examining the exploitation of artists in the 1920’s, is sadly still relevant today. The play is set in a Chicago recording studio where Ma Rainey (based on an actual Blues singer from the 20’s) is scheduled to record a series of songs for her white manager and a white recording executive. Along for the ride are her stuttering nephew who she demands be allowed to record a voice over and her young, on-the-make girlfriend. However it is her musicians who are at the heart of the play.
Whilst Ma Rainey makes increasingly diva like demands in the studio, a bravado cover for her obvious lack of power in the situation, her four member male band wait impatiently in an ante-room. Through a series of almost music like monologues, duologues and ensemble numbers the young menepitomise the plight of the young black man in the 1920’s.
As Levee, the talented trumpeter who wants to break away from the traditional ‘jug songs’ and find a wider white audience, O-T Fagbenle impressed with his ability to juxtapose the character’s self-confidence and vulnerability. In fact all the actors playing the band members should be praised for their thoughtful, nuanced performances. Not to mention their ability to do double duty as live musicians throughout the evening.
As one would expect, the always wonderful Sharon D Clarke, creates a Ma Rainey that is fearsome and wise and her singing is soul stirring.
If I had one complaint about the evening it is that the direction by Dominic Cooke seemed to lack urgency at times. There were moments, including the scene changes, where I felt that the evening would benefit from the entire production picking up the pace.
The set design by Ultz was impressive as is to be expected from the National Theatre and I delighted in listening to the high school students around me gasp in surprise when the entire front of the stage rose up to reveal the studio’s waiting area.
In fact it was wonderful to see the auditorium filled with high school Drama students of all races who were clearly very engaged by the play and gave it a rapturous ovation at the end.
This is a thoughtful, wise and uncompromising play that beautifully brings to dramatic light the harsh realities of race relations in the United States both in the past and present.
Yen, currently playing at the Royal Court following its critically acclaimed run at the Manchester Royal Exchange, is a beautiful play. It tells the story of sixteen year old Hench (Alex Austin) and his thirteen year old brother Bobby (Jake Davies). With neither of their fathers in the picture, and visits by their troubled mother (Sian Brecky) infrequent, the boys are isolated and effectively feral, existing on an emotional diet of Call of Duty and internet porn. Into this bleak picture comes Jenny (Annes Elwy) who illuminates the boys’ life for a short while, with the fragile hope that she brings with her. 