Tag Archives: Matthew Xia

TAMBO & BONES

★★★

UK Tour

TAMBO & BONES

Royal & Derngate Theatre

★★★

“The energy expended by Samuel and Ward is exhilarating”

The Actors Touring Company revives its production of Dave Harris’s thought-provoking play from Stratford East two years ago with newcomer Clifford Samuel stepping into the role of Tambo alongside Daniel Ward’s original Bones. It’s a strange piece, certainly, with the opening scene revelling in its Beckettian absurdity. Tambo (top hat and tails) and Bones (waist coat and bowler) are minstrels in a fake world of painted scenery and cut-out trees (Set and Costume Designers – Sadeysa Greenaway-Bailey and ULTZ).

As the pair’s antics verge closely on clowning, the chemistry between the two actors is immediately evident. But there’s an edge in the comedy which splits this audience; some laughter from the stalls suggests it’s the funniest thing ever, whilst others are hearing the darker overtones. The pair discuss how they can escape their situation; Bones wants to perform cheap tricks for our money, whilst Tambo would like us to understand the history of the black person’s experience.

Moving forward, the pair are now hip-hop stars and the second scene is an extended live performance. The two men bid to out rap each other whilst a DJ at the back mixes the beats. Is it the director himself, Matthew Xia, in his persona of Excalibah behind the mask? Stage smoke and powerful lighting (Ciarán Cunningham) provide the stadium performance atmosphere. The energy expended by Samuel and Ward is exhilarating but for the predominantly white middle-aged audience, it’s also rather bemusing. If there is something to be learnt through the poetry, then we don’t get it.

The futuristic third scene with its Orwellian overtones shakes things up again. The stage is stripped bare and, in a brave piece of writing and direction, our two heroes passively narrate the story of the history of the new world whilst two white robots mime the action. Jaron Lammens and Dru Cripps as X-Bot-1 and X-Bot-2 provide the performance of the night. There’s surely never been a better choreographed and performed scene of robotic movement than this. Disappointingly, a final piece of action important to the ultimate meaning of the play and that should be devastating in its effect misses its punch.

Dave Harris’s play won’t be to everyone’s taste, with the long central hip-hop performance particularly divisive. But there is no questioning the commitment, versatility and brilliance of the performers.



TAMBO & BONES

Royal & Derngate Theatre then UK Tour continues

Reviewed on 11th March 2025

by Phillip Money

Photography by Jane Hobson

 

 


 

 

Previously reviewed at this venue:

MOBY DICK | ★★★★★ | April 2024
THE FROGS | ★★½ | January 2024
2:22 A GHOST STORY | ★★★ | January 2024
THE MIRROR CRACK’D | ★★★ | October 2022
THE TWO POPES | ★★★★ | October 2022
PLAYTIME | ★★★★ | September 2022
THE WELLSPRING | ★★★ | March 2022
BLUE / ORANGE | ★★★★ | November 2021
GIN CRAZE | ★★★★ | July 2021
ANIMAL FARM | ★★★★ | May 2021

TAMBO & BONES

TAMBO & BONES

TAMBO & BONES

🎭 A TOP SHOW IN JULY 2024 🎭

SKELETON CREW

★★★★

Donmar Warehouse

SKELETON CREW at the Donmar Warehouse

★★★★

“a subtle and quiet portrayal of people who feel real and vivid”

Not a lot happens in this play but that’s the crux of its genius. It elevates the everyday. It’s about everything and nothing.

Written in 2014 and first performed in New York in 2016, Skeleton Crew follows four workers in a car manufacturing plant in Detroit. A foreman and three floor workers. As their jobs are threatened, the quiet day to day of their lives unravel, with each facing the uncertainty of their future.

Watching the steady and inevitable disintegration of this department sounds bleak. Somehow, it’s not. The humanity and quiet kindness in these characters gives the audience hope. As the story slowly unfurls, it remains compelling and strangely optimistic.

Dominique Morrisseau’s script is tight. Each line oozes with character. Dancing between philosophy and banter, the dialogue snaps and sizzles. And she knows when to hold back. There’s power in what isn’t said. Matthew Xia leans into that silence in his direction. There are moments of stillness, of pause. Watching people get ready for work, alone, tells you so much about them.

Many of these moments are not silent, just without dialogue. Nicola T Chang’s carefully crafted sound design gives each character a soundtrack, quietly signalling whose story will be the focus of each scene. From Aretha to J Dilla, to the sound of the fridge whirring, this attention to detail makes the world, and the characters, feel more vibrant.

All of the performances are strong – especially from newcomer Branden Cook. However all eyes were glued to Pamela Nomvete in a remarkable performance as the jaded mother hen Faye.

Ultz was the show’s designer, and perhaps undelivered a little. The set was naturalistic – a break room – but each scene was intercut with the clanking of shadowy machinery, an illusion assisted by Ciarán Cunningham’s lighting design. There was a moment of pyrotechnics, which was exciting, but felt a little out of place. For a designer with such an impressive track record, this isn’t Ultz’s best work.

Don’t come to this show expecting surprising plot twists, or a fresh political take. But come for the beauty in a subtle and quiet portrayal of people who feel real and vivid.


SKELETON CREW at the Donmar Warehouse

Reviewed on 6th July 2024

by Auriol Reddaway

Photography by Helen Murray

 

 

Previously reviewed at this venue:

THE HUMAN BODY | ★★★ | February 2024
LOVE AND OTHER ACTS OF VIOLENCE | ★★★★ | October 2021

SKELETON CREW

SKELETON CREW

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