Reviewed – 15th July 2021
“an important story, and judging by the racially charged goings-on of last week, couldn’t be timelier”
I know what the embodiment of true joy and self-assuredness looks like: It looks like Ronkẹ Adékoluẹjo in a sunshine yellow jumpsuit dancing hard all over a lava-encrusted multi-level set to a double-time remix of Aretha’s ‘Think’; dancing so hard she leaves the audience to three rounds of applause whilst she gets her breath back. And thus, we are introduced to “Her”.
“Her”- as Her Majesty’s Passport office keeps referring to her- is trying to renew her British passport with no luck. A dual citizen, her first name is missing from her South African passport, and she needs to fix this before they’ll renew her British one. But why is her name missing in the first place? This mystery sparks the beginning of a journey back, bridging decades and continents, beginning in a colonised Congo, and ending in modern day London, all in search of a sense of belonging. Though Adékoluẹjo begins with a joyous dance, the story itself is one of struggle and fury.
Though later in the story the name of “Her” is confirmed as writer Benedict Lombe, Lombe having employed an actor to play the role might easily have given the performance a fictional detachment. But Adékoluẹjo undertakes the story as though it were her own, with so much love and care that the separation between writer and performer is invisible to the audience’s eye. Slipping between prose and colloquialism, both the script and Adékoluẹjo are completely charming.
The premise is strong and compelling: The reason behind her missing first name is fascinating and perfectly symbolic of the messy nuances of identity and history. But there’s a disconnect between the resolution of this first dilemma and the rest of the story, which is still rich in character and content but without a central element to keep it on track. The ending too feels messy, as though Lombe couldn’t quite decide how to finish, so she picked all the options.
This is really all much of a muchness though because it hardly dampens the effects of Lombe’s passionate and remonstrative script and Adékoluẹjo’s effervescent performance. This is an important story, and judging by the racially charged goings-on of last week, couldn’t be timelier.
Reviewed by Miriam Sallon
Photography by Helen Murray
Bush Theatre until 7th August
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