Lanre Malaolu’s Now, I See starts with a lone figure upstage, standing over a clear, coffin-shaped tank of water. On the face of it, this is the story of three black African brothers who come together at a family funeral, after a period of prolonged – and emotionally-charged familial estrangement. Each one comes with grief, varying perceptions of grievance, important information to share, and differing degrees of emotional inexpressiveness. It soon becomes clear that the only way to heal themselves – and each other – is by lifting historical burdens, relinquishing past perceptions and tightening brotherly bonds.
Of course, as with all good theatre, the magic is in the detail.
And what detail.
Firstly, the performances.
Oliver Alvin-Wilson is powerful as the cynical, emotionally rigid eldest brother ‘Kieron’. His presence, poise, charisma and emotional range, timing, focus and emotional connection all fed into a strongly-connected character-arc; making his third act transformation, powerful and well deserved.
Nnabiko Ejimofor is wonderful as the impish middle-brother ‘Dayo’. His playfulness and incessant willingness to be the ‘inciting force’ and ‘the balm’ – drive and contextualise the narrative; binding the brothers and the audience forward. His performance shifts in shade and weight as seamlessly as does his body, during both the wonderfully fun-filled choreographies, and his two magical solo dances (one of which he magically transforms into a haunting, giant bird-creature).
Tendai Humphrey Sitima plays the youngest brother ‘Adeyeye’. Although his performance is far less vocal, his presence is felt in each and every line of the play. His is a funny, tender, physically-articulate and brave performance; one that complements and encourages those of his ‘brothers’; supporting and leading them on and holding our attention.
As well as the superb performances, the play is infused with sharp humour and deep pathos. The writing is rich, thought-provoking and tremendously well-observed; not just in respect to the self-imposed restrictions and emotional isolations that ‘black brothers’/ men impose upon themselves, but in the differing ways that siblings use these formative relationships to confirm, deny and or obsess over a particular world view.
Using – among other things – hand-slap games, the music of pop singer Usher, and barely-remembered ‘Power Rangers’ and ‘Coming to America’ skits to reform brotherly bonds, the play moves smoothly and coherently through its ‘2-hour+/ 2-act running time.
All elements of sound (Pär Carlsson), lighting (Ryan Day), Composition (Jan Brzezinski) and scenogaphy (Ingrid Hu) are excellent, and complement each other well.
Writer, director and movement director Lanre Malaolu brilliantly combines smart, emotive dialogue and heartfelt monologues with tight direction, and precise movement sequences that are at various stages – moving, fun and evocative. He is a huge talent and like all three of the production’s actors, are a force to look out for.
Now, I See brilliantly reveals the raw power of shared memories as a way to create a healing balm to make present-day traumas tolerable, and surviving through grief a soluble proposition.
I could say far more about this wonderful play, but to do so would be a disservice to those who might give themselves the gift of discovering it themselves. This is a transformative theatrical experience that deserves to be experienced by all.
Need to know: Now, I See plays at Stratford East until 1 June 2024 | Running length: Approx. 2hours 10mins including interval.
Age guidance: 12+
