One of the great pleasures of conducting regular theatre reviews in and around the capital is to engage with new plays, artistic works and or creative practitioners. It is also an equal pleasure to engage with a charming London theatre venue for the first time.
With that in mind, attending this compilation of short plays presented at Tower Theatre, Stoke Newington, was a double joy. The venue – run by, and in conjunction with, Tower Theatre Company – is a community-based company, of a type that has always been vital to the creative arts.
In this fraught economic climate where increasingly more artists, creatives and productions apply for scarcer resources, and larger numbers of producers and venues compete for the attention of a diminishing number of potential attendees and or donors – their work becomes increasingly more important. This is one of the reasons why a reviewer’s perspective – or at least this one’s – must often take into consideration both context and placement.
This compilation of five short plays is based on different aspects – or ‘shades’ – of the black female perspective. Devised and produced by Lande Belo, it highlights the need to continue developing opportunities and performance showcases; ones in which fledgling artists, writers and industry creatives may flourish.
Although none of the five presentations were without fault – based on purely professional ‘West End’ criteria – each offering had elements to recommend them.
Changing Rays (written by Mauricia Lewis) is a ‘dystopian satire’ about the final procedural consultation between a young, black woman and the (white) blonde female representative of a cosmetics firm that offers ‘willing participants’ the chance to ‘change their skin colour from black to white’. Starring Anoa-Kanelle Calpas as ‘Ngozi’ and Kailee O’Sullivan as ‘Karen’, it delivers thoughtful insights into the extra burdens felt by black females within the Western patriarchal paradigm.
Writer Sara Amanda’s Nicki Takes A Breath is a sharp, tightly scripted semi-comic duologue about the confusing, tiresome and repetitive audition processes undertaken by black, female actors. Performed excellently by Keia Johnson and Saffron Day, it highlights several of the hoops that ‘differently shaded’ – and braided – performers have to jump through, in order to satisfy an entertainment industry that – on the one hand – promises to engage with their talent, whilst simultaneously seeks to curb, control and contain their essence. A highlight.
In Conversation, by Eileen Gbagbo, is another stand-out. Set in a TV studio, it features a black female finance expert (‘Dr. Tiwa Sowunmi-Smith’) being interviewed by a white female TV show host of a programme called ‘Inside Money’. The level of disrespect the doctor receives is palpable from the start; with the passive-aggressive host initially refusing to pronounce the guest’s African name correctly. The interviewer becomes shocked and alarmed upon hearing her guest’s refusal to proceed until she is referred to by her correct name, and engaged with based on her title, status and expertise. The piece is a well-observed and executed examination of the constant unfair scrutiny placed upon the credentials, attributes and expertise of black female academics, intellectuals and scholars.
After a short break comes writer Rukiat Ashawe’s 2037: The Burden. This Sci-Fi piece tells the story of a black female leader who holds the power to end a 20-year war, if only she relinquishes her own bodily autonomy. This piece is an intriguing post Roe v. Wade/ ‘Handmaid’s Tale’ allegory, and features a superb central performance by young London actor, Kahlea Allison. Her vocal clarity, poise and emotional depth certainly mark her out as a star in the making.
The evening of shorts concludes with Mary, Queen of Thots. Written by Katrina Smith-Jackson, it features ‘Mary’ (Megan Madaleine Freeman) monologuing her experience of being a black, female ‘zillennial’; one who seeks to challenge her own ‘non-conformity’ with her desire for real human contact – through dating, or similar. The piece seeks to break various taboos (e.g. masturbation, dating apps, cultural repression, religious dogma), and has much to say about the complexity and – dare I say it – diversity of the black female voice.
Bolu Dairo’s flexible set is simple yet effective. Three bare, beige wall backdrops are situated upstage (in a slight curve), upon which signage could be displayed. This clear downstage space allowed for various furniture, seating and other props to be brought in, depending on the piece. Overhead, a digital screen was in use. Nick Insley’s also deserves credit for his many and varied lighting states; greatly enhancing each piece.
A final element was musical director/ composer Isabelle Ajani performing songs and incidental music live on the on-stage keyboard; either in conjunction with actor/singers Chaachi Deane and Anoa-Kanelle Calpas, or alongside the Sound Design of Sarah Assaf and Anna Kidd.
Ultimately, this production, lovingly assembled by producer Lande Belo is a reminder that it is we, the village, that is responsible for our own children’s stories; our history; and our own theatre.
If not ‘us’ – then whom? If not now, then when?
It was a pleasure to be in the company of so much positive energy, and I can only commend all those involved.
Need to Know: Ain’t I A Woman? plays at the Tower Theatre until 20 July 2024.
