Tag Archives: Jermyn Street Theatre

THE LONELY LONDONERS

★★★★

Jermyn Street Theatre

THE LONELY LONDONERS at Jermyn Street Theatre

★★★★

“an energetic and stylish play that could easily become a classic”

Adapted by esteemed British playwright Roy Williams, The Lonely Londoners at the Jermyn Street Theatre is the first staging of British-Trinidadian Sam Selvon’s 1956 novel. It’s somewhat surprising that the material hasn’t been adapted before, given the popularity of Windrush stories like Andrea Levy’s Small Island, adapted for the small screen in 2009 and staged at the National Theatre in 2019. That being said, it’s a pleasure to see the material in Williams’ hands with a script full of clever dialogue and a plot that, through the exploration of individual stories, allows for variety and nuance that creates a sophisticated, textural piece.

The drama centres around Moses Aloetta, Gamba Cole, a charismatic and well-connected Caribbean emigré with a cigarette surgically attached to his hand as he and his friends try to make their way in London. We meet the happy-go-lucky Big City, Gilbert Kyem Jnr, full of malapropisms based on London’s streets and boroughs, eager to put on a dance for the community. There’s Lewis, Tobi Bakare, recently out of work and worried about the arrival of his wife Agnes, Shannon Hayes, and mother, Carol Moses. And finally Henry ‘Galahad’ Oliver, fresh off the boat train with nothing but his pyjamas and toothbrush ready to take London by storm. Moses connects and grounds the group but is haunted by the image of the love he left behind in Trinidad. As the group gain experience of the city and its aggressive inhabitants, fear creeps in that this could all end in ruin. Fortunately, whilst the end does indeed bring sadness for some, it is not wholly an unhappy ending.

Performances from the whole cast are impeccable, each demonstrating an impressive emotional range in under two hours. The men are all degrees of cheeky and charming, lost and lonesome, and aggressive and angry. The women display similar range, gleeful at their small triumphs and despairing of the challenges they face. This is perhaps most dramatically exemplified by Romario Simpson as Galahad as we see his realisation from wide-eyed new arrival to a literally battered and bruised shell – his monologue denouncing the English for their unchecked racism is a powerful performance. It’s also worth praising the authentic Caribbean accents, coached to perfection by Aundrea Fudge.

 

 

There are, however, some odd directorial choices which break the drama. The dialogue is so rich that there are no ambiguities – these characters are talking from the heart at all times and we understand their fears, hopes and frustrations through what they say. Director Ebenezer Bamgboye’s choice to also include elements of physical theatre to show, for example, how the men support each other when the going gets tough is not necessary; we have already heard it.

On the other hand, the inclusion of contemporary music of black origin throughout the piece (Protoje’s ‘Who Knows’ beautifully sung live by Aimee Powell, a couple of Michael Kiwanuka tracks and more) subtly reminds you that, whilst this is a historical drama, the themes and experiences portrayed are, unfortunately, not resigned to history books.

Lighting by Elliot Griggs enhances the drama – whether through slow fade-ins that subtly draw your attention across the stage away from the action, or through dramatic bursts of light that ignite a fight. There is also clever use of flash bulbs on the back of the stage which are programmed to situate scenes by their postcodes, or show a graphic image which add fun and interest to the studio theatre.

The Lonely Londoners is an energetic and stylish play that could easily become a classic just like its source material. Although speaking to a specific moment in time, it’s themes of migration, racism and isolation resonate across the years. But it is the hopeful message of friendship and resilience, particularly through humour, that set this show apart and make it an enjoyable as well as educational watch.


THE LONELY LONDONERS at Jermyn Street Theatre

Reviewed on 5th March 2024

by Amber Woodward

Photography by Alex Brenner

 


 

Previously reviewed at this venue:

TWO ROUNDS | ★★★ | February 2024
THE BEAUTIFUL FUTURE IS COMING | ★★★★ | January 2024
OWNERS | ★★★½ | October 2023
INFAMOUS | ★★★★ | September 2023
SPIRAL | ★★ | August 2023
FARM HALL | ★★★★ | March 2023
LOVE ALL | ★★★★ | September 2022
CANCELLING SOCRATES | ★★★★ | June 2022
ORLANDO | ★★★★ | May 2022
FOOTFALLS AND ROCKABY | ★★★★★ | November 2021

THE LONELY LONDONERS

THE LONELY LONDONERS

Click here to see our Recommended Shows page

 

TWO ROUNDS

★★★

Jermyn Street Theatre

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

Two Rounds explores the legacy of womanhood through two generations of four women in a tender and contemplative story. The first group we meet is a tea-party of housewives living in 1960s Italy. Translated from its original Italian debut and written by Cristina Comencini, the piece is a long conversation between four mothers. In the second act the actors play their respective daughters. Nothing happens to the characters beyond what they simply reveal dramatically to each other and events described off-stage. Beatrice, a vision in pink, (Daria Mazzocchio) is pregnant with her first child. Claudia (Natalie Cutler) in a green poodle skirt is uptight and traditionalist and consistently reminds Beatrice to expect even more pain in childbirth than whatever she imagines. Briskly dealing cards for the game is Gabriella (Flora Sowerby), in blue mid-length trousers. She criticises the nature of their housewife role with dry humour and knowing looks. Lastly, in matching purple headband and trousers is Sofia. She wins often at cards, but feels she has not won at life. Sofia (Saria Steyl) laments her life and delivers philosophical rants whilst chain smoking (around a pregnant woman…it’s definitely the 60s!) with pithy delivery.

Permeating the emotional moments is bright and dreamy lighting with vibrant pinks and an occasional flickering hanging lamp (Han Sayles). The set consists of a living room decorated with a somewhat kitsch collage of black and white photos of brides, mothers and families with the costumes doing heavy lifting in evoking the time period (Evelien Van Camp). Further punctuating the drama in the women’s conversation is a light piano score and Italian music (Hattie North). At the change to the next generation the home is draped in sheets and with cooler more sombre lighting and some Nokia ringtones to garnish its 90s setting.

“it is performed with quiet strength from the cast in both acts”

The relationship between mother and daughter is captured through the dual roles of the performers. Beatrice, pregnant with her daughter Giulia tells us she adored her mother who died. Directly mirroring these events in the 90s, Giulia (Mazzocchio) gathers her childhood friends after a funeral. Claudia, who idolised her mother, discusses the value she places in her role as a parent. In the second act, her daughter Cecilia (Cutler) is desperate to be pregnant. Gabriella, who feels lonely and side-lined proclaims she will teach her daughter Sara to play piano. Sara (Sowerby), a concert pianist, wishes her husband were more assertive in their marriage, disliking how he emasculates himself. Sofia feels dispassionate about her role in her daughter’s life. A doctor, Rossana (Steyl), who keeps an unlit cigarette in her mouth (it’s a metaphor) discusses balancing a career and family life. The women in the 90s generation discuss their problems with feminism and to some extent seem to dislike some of the freedoms they have that their mothers didn’t. The women of the elder generation casually admit to adultery, loneliness and resentment with their respective daughters supposedly in the room next door. Conversely, none of the daughters have become mothers in the second half and have made their own choices in their work and love lives.

Overall it is performed with quiet strength from the cast in both acts. Steyl’s performance enamours the audience to a regretful and bitter Sofia. Mazzocchio is endearing as Beatrice and Giulia, showing range. Directed by Aida Rocci, the scenes weave through the tea party and funeral but avoid over-the-top melodrama with expertly placed jokes by Cutler and Sowerby. However in lieu of conflict, expositional dialogue takes up the entire runtime. It is a tear-stained love letter to mothers and daughters.


TWO ROUNDS at Jermyn Street Theatre

Reviewed on 8th February 2024

by Jessica Potts

Photography by Giulia Delprato

 


 

Previously reviewed at this venue:

THE BEAUTIFUL FUTURE IS COMING | ★★★★ | January 2024
OWNERS | ★★★½ | October 2023
INFAMOUS | ★★★★ | September 2023
SPIRAL | ★★ | August 2023
FARM HALL | ★★★★ | March 2023
LOVE ALL | ★★★★ | September 2022
CANCELLING SOCRATES | ★★★★ | June 2022
ORLANDO | ★★★★ | May 2022
FOOTFALLS AND ROCKABY | ★★★★★ | November 2021
THE TEMPEST | ★★★ | November 2021

TWO ROUNDS

TWO ROUNDS

Click here to see our Recommended Shows page