Tag Archives: Posi Morakinyo

FOR BLACK BOYS WHO HAVE CONSIDERED SUICIDE WHEN THE HUE GETS TOO HEAVY

★★★★

Garrick Theatre

FOR BLACK BOYS WHO HAVE CONSIDERED SUICIDE WHEN THE HUE GETS TOO HEAVY at the Garrick Theatre

★★★★

“a beautifully poetic and bold piece of theatre”

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy, takes your brain and your heart. It is a rollercoaster party for all, as Ryan Calais Cameron’s award-winning production returns to the West End for a limited season.

Starring in the now iconic roles in this new production of FBB, are a powerful new blend of talented actors: Tobi King Bakare (Onyx), Shakeel Haakim (Pitch) making his professional debut, Fela Lufadeju (Jet), Albert Magashi (Sable), Mohammed Mansaray (Obsidian) and Posi Morakinyo (Midnight). The cast of six young Black men are all in sync with each other and shine with their own identities and characters, with laugh out loud humour and exposed vulnerability.

It makes for a beautifully poetic and bold piece of theatre.

 

 

The show opens with a stunning piece of slow motion movement which then explodes with the colourful individual characters telling their stories of the beauty and burden of being black – and just being a human. This is a story of manhood and masculinity in Black Britain today, flowing through dance, monologues and music.

We meet the six young men in what appears to be a safe space therapy group telling their bravura stories about father figures or lack of, and macho sex. They are all about “how to be the right type of Black man” showing power and strength. But we also see snippets of their childhoods when they were bullied or not chased by the girls in kiss chase – because of the colour of their skin. They are visceral, and the aggressive and powerful choreography by Theophilus O. Bailey, shows the perception of angry young Black men, and how they articulate themselves when words fail them.

In act two, the set designed by Anna Reid, opens up into a fantasy fluorescent playground where the men feel safe to tell their truths with pain and honesty. The choreography softens but is equally as powerful. Self-aware and touchingly naïve, they talk poetically of their mothers’ eyes, their need for love, love found and love lost, abuse, peer pressure and sexuality….. as they each expose their raw vulnerability.

 

 

And that’s when they start to sing. As their trust grows their harmonies soar, as they show tenderness and emotion towards each other. Together these men are electric.

FBB is a stunningly slick show directed by the writer Ryan Calais Cameron, with music and sound by Nicola T. Chang.

In Cameron’s, For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy, the message to those who have considered suicide is to learn to love yourself – and breathe. It is a very current and universal story – young men and mental health. It is about all young men who have considered suicide.


FOR BLACK BOYS WHO HAVE CONSIDERED SUICIDE WHEN THE HUE GETS TOO HEAVY at the Garrick Theatre

Reviewed on 7th March 2024

by Debbie Rich

Photography by Johan Persson

 

 

 

Previously reviewed at this venue:

HAMNET | ★★★ | October 2023
THE CROWN JEWELS | ★★★ | August 2023
ORLANDO | ★★★★ | December 2022
MYRA DUBOIS: DEAD FUNNY | ★★★★ | September 2021

FOR BLACK BOYS WHO

FOR BLACK BOYS WHO

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AIN'T TOO PROUD

Ain’t Too Proud

★★★

Prince Edward Theatre

AIN’T TOO PROUD at the Prince Edward Theatre

★★★

AIN'T TOO PROUD

“great songs, sensational dance but lacks emotional content”

 

Ain’t Too Proud, described as The Life and Times of The Temptations, directed by Tony-award winner Des McAnuff, and based on founder band member Otis Williams’ own memoir, is a whistle-stop journey through the history of the band from Otis’s discovery of music as a way off the Detroit streets, to becoming part of one of the most successful R&B groups of all time.

Otis tells us of his ambitions from the outset, “Singing is going to be my salvation” and the ethos of his group is that of all band members are brothers, “We all men, we all equal”. As the demanding life on the road, and the usual reliance on drink and drugs, takes its toll on the group, this maxim is severely tested. But, in essence, there isn’t a lot of life depicted on the journey and only a cursory look at the times. What there is, is some sensational song and dance routines.

The tour de force of this show is the outstanding Sifiso Mazibuko as Otis Williams. Stepping in and out of the song and dance line to narrate the story without missing a beat, he is close to ever-present throughout and if he begins to show signs of flagging by the finish, we can put it down to the aging of his character.

The opening half of the show though lacks spark. The songs are excellently performed and look amazing, but they are presented in small snatches, an accompaniment to the narrated story, which in itself does not excite. This begins to change with the arrival of the unpredictable David Ruffin (Tosh Wanogho-Maud) into the band and The Temptations’ first number one hit, My Girl. Some extra colour is provided with the inclusion of a three-song medley from The Supremes, described by Otis as The Temptations’ main rivals, which is one of the first act highlights. And as an example of how the songs reflect the narration, the group sings If You Don’t Know Me By Now just as Otis and his wife Josephine (Naomi Katiyo) split up.

As the group becomes more successful and looks to cross-over into the mainstream, a question is raised as to whether they are doing enough for fighting racial inequality. A clause in the band’s performing contract means their audience must not be racially segregated but the vital question is left open as monochrome projections show images of Detroit and Memphis ablaze, followed by the assassination of Martin Luther King.

Extra poignancy is found in the second half with the suicide of singer Paul Williams (Carl Cox) and images of the Vietnam conflict accompanied by a snatch of War (What is it Good For). The musical performance gets a lift too with longer song numbers, and a light show, particularly with the Reunion Tour and seven singers on stage rather than the usual five. The over-extended story of recording Papa Is A Rolling Stone becomes connected with Otis’s own story of missing his son growing up but any empathy is quickly swallowed up into the outstanding final number.

Ain’t Too Proud has great songs, sensational dance but lacks emotional content.

 

 

Reviewed on 19th April 2023

by Phillip Money

 

Photography by Johan Persson

 

Ain't too Proud  

Recent five star reviews:

   

The Net Kill | ★★★★★ | VAULT Festival 2023 | March 2023
After The Act | ★★★★★ | New Diorama Theatre | March 2023
Dance Of Death | ★★★★★ | The Coronet Theatre | March 2023
The Black Cat | ★★★★★ | King’s Head Theatre | March 2023
Britanick | ★★★★★ | Soho Theatre | February 2023
Cirque Berserk! | ★★★★★ | Riverside Studios | February 2023
Dance Me | ★★★★★ | Sadler’s Wells Theatre | February 2023
Gay Witch Sex Cult | ★★★★★ | VAULT Festival 2023 | February 2023
Hedda Gabler | ★★★★★ | Reading Rep Theatre | February 2023
The Lehman Trilogy | ★★★★★ | Gillian Lynne Theatre | February 2023

   

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