Tag Archives: Shvorne Marks

Beautiful Thing

Beautiful Thing

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Theatre Royal Stratford East

BEAUTIFUL THING at the Theatre Royal Stratford East

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Beautiful Thing

“The pair have an enchanting chemistry – they perfectly capture the awkward nervousness of young love”

Jonathan Harvey’s coming-out and coming-of-age story Beautiful Thing was first performed at the Bush Theatre in 1993. Now, 30 years on, a revival – directed by Anthony Simpson-Pike – has graced the stage of London’s Theatre Royal Stratford East. Strikingly relevant to today and beautifully told, we follow 16-year-old neighbours Jamie (Rilwan Abiola Owokoniran) and Ste (Raphael Akuwudike) as their gentle love story unfolds within the tightknit working-class community of Thamesmead. Jamie clashes with his no-nonsense mother Sandra (Shvorne Marks) and her middle-class boyfriend Tony (Trieve Blackwood-Cambridge) whilst Ste struggles against his abusive, alcoholic father. School drop-out Leah (Scarlett Rayner) and her absent mother complete the trio of houses on which the play focuses.

Owokoniran, a last-minute replacement for Joshua AsarΓ© who dropped out due to personal circumstances, shines in the lead role. He is best when leaning into his young character’s sweetness – parading around in the glasses that Ste likes is a particular highlight – and when wittily sparring with Sandra. Akuwudike does an excellent job at rendering Ste’s cheery disposition as well as his hesitancy and frustration at his family circumstances. The pair have an enchanting chemistry – they perfectly capture the awkward nervousness of young love and are totally believable in it.

Sandra evolves throughout the show and Marks brings a great empathy to her. A self-reliant single mother with a string of younger lovers, she is hurting and craves her son’s affection. Blackwood-Cambridge is hilarious as Tony. His overly sexual movement and mannerisms – directed by Annie-Lunette Deakin-Foster – are excellent. He fully embraces the absurdity of his ill-placed character. He does, however, also deliver real tenderness in his final scenes, elevating his character beyond the clown with great skill.

“It is funny, uplifting and has real heart.”

Rayner provides a great brashness to the proceedings and does great in the play’s climax when her character has a bad trip. She is an effective foil for the other characters – her need to interfere and ask difficult questions drives much of the plot.

Rosie Elnile has designed a gorgeous set. We see the cream concrete exterior of our protagonists’ respective flats. Jamie’s – at the centre – is a rose between two thorns, a basket of flowers and a freshly painted door brighten up the otherwise nondescript faΓ§ade. Characters enter via the flats or the right-hand side of the stage. The only interior to which we are privy is Jamie’s bedroom – a single bed that juts out from the exterior wall of his flat towards the audience.

Excellent lighting (Elliot Griggs) works wonders to enhance the set. Between scenes, colourful filters coat the set as characters dance and move rhythmically around highlighting the emotion or dynamic(s) of the previous scene. In addition, the lighting is used to grow and reduce the space, most obviously when we are in Jamie’s bedroom, his bed spotlighted, the rest of the stage dimmed to hone our attention onto the single room.

The sound design (Xana) is also thoroughly distinctive – funky, almost Seinfeld-esque beats play to transition us from one scene to the next. The musical stylings of Mama Cass also feature heavily. Her music drifts out from super fan Leah’s flat and her song β€˜Dream A Little Dream Of Me’ is an anthem for Jamie and Ste’s acceptance of their sexuality.

Beautiful Thing is a thoroughly touching story of queer joy. It is funny, uplifting and has real heart.Β The cast bring strong and nuanced performances to their respective characters and the script is brilliantly quick. Time flies whilst watching this play and your cheeks will hurt from smiling at the charming tale. I could not recommend it enough.


BEAUTIFUL THING at the Theatre Royal Stratford East

Reviewed on 22nd September 2023

by Flora Doble

Photography by The Other Richard


 

 

Previously reviewed at this venue:

 

CAFΓ‰ SOCIETY SWING Β  β˜…β˜…β˜…β˜…β˜…Β  June 2018

PYAR ACTUALLY Β  β˜…β˜…β˜…β˜…Β  May 2018

SUMMER IN LONDONΒ  β˜…β˜…β˜…β˜…β˜…Β  July 2017

TOMMYΒ  β˜…β˜…β˜…β˜…Β  June 2017

Beautiful Thing

Beautiful Thing

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My White Best Friend

My White Best Friend
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The Bunker

My White Best Friend

My White Best Friend (and Other Letters Left Unsaid)

The Bunker

Reviewed – 20th March 2019

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“Using the word show seems a bit weird. It wasn’t really a show. It was an event, a sharing.”

 

Yesterday evening at The Bunker felt unlike any evening I’ve ever spent in a theatre, and as such, I felt it was right to write about it in a totally different way. I’ve introduced an I for starters, and so I’m going to introduce myself too. I’m a cis, pansexual, middle class white woman, aged 48. It feels essential to let you know this, as the series of evenings which Rachel De-Lahay and Millie Bhatia have curated put identity centre stage – racial identity, class identity, sexual identity and gender identity – and one of the things that last night made very clear, is that we can only view things through our own identity prism. So the old myth of the invisible critic just won’t wash.

The Bunker felt like a club last night. Buzzy. There was an excellent DJ, we were all standing, and we were offered a drink (rum and Ting, delicious) when we walked into the space. It was a young crowd and it looked and felt and sounded like London; like the London that is outside, that we journeyed through to get there. Which felt great. And made me realise how rare that is. There were knots of friends chatting, predominantly people of colour, and a sense of relaxed ownership, a comfortable knowledge – this night is for us, and about us – which I could only share from the edges. And that feeling taught me something, even before the show began. Even using the word show seems a bit weird. It wasn’t really a show. It was an event, a sharing.

Rachel De-Lahay’s idea is a simple one: different writers leave a letter to be read out loud by a specific performer. The letter is in a sealed envelope and the performer reads it live, having never read it before. The evening kicks off with a long letter that Rachel wrote to one of her best friends, InΓ¨s de Clercq, and it is InΓ¨s who reads it. The letter is honest, and funny and uncomfortable for InΓ¨s to read, as it is a reminder that no matter how much Rachel loves her, her race can’t help but play a part in their relationship. It is uncomfortable for any white person to hear, to witness, to think about, and that’s the point. The young woman standing in front of me was completely overwhelmed by tears half way through this reading, and, throughout the night, the electricity of words being spoken that are so often, too often, left unsaid, was palpable. There was a charge; the air crackled with it. Of urgency, of energy, of presence.

The next letter was written as a piece of spoken word poetry. Fantastic writing by Jammz; it also dealt with race in friendship, and Ben Bailey Smith (‘I’m mixed race, so I’m my own white best friend’) was direct and charming, and did the words justice. The final, and longest letter of the evening was written by Zia Ahmed and read by Zainab Hasan. This took a different form again, with Zainab reading out a selection of quotes – from Zia himself, from the Home Secretary Sajid Javid, from popular Muslim comedians – before reading Zia’s unbearably painful story of continual racist profiling which led him finally to stop his job as a nanny.

It went against the grain to give this show a star rating, as the words and stories of these artists and performers don’t need my critical validation, but they do need to be listened to. So consider my five stars a way of saying that this is essential theatre. Get yourself a ticket and open your ears.

 

Reviewed by Rebecca Crankshaw

Photography courtesy The Bunker

 


My White Best Friend (and Other Letters Left Unsaid)

The Bunker until 23rd March

 

Last ten shows reviewed at this venue:
Section 2 | β˜…β˜…β˜…β˜… | June 2018
Breathe | β˜…β˜…β˜…β˜… | August 2018
Eris | β˜…β˜…β˜…β˜… | September 2018
Reboot: Shorts 2 | β˜…β˜…β˜…β˜… | October 2018
Semites | β˜…β˜…β˜… | October 2018
Chutney | β˜…β˜…β˜… | November 2018
The Interpretation of Dreams | β˜…β˜…β˜… | November 2018
Sam, The Good Person | β˜…β˜…β˜… | January 2019
Welcome To The UK | β˜…β˜… | January 2019
Boots | β˜…β˜…β˜…β˜… | February 2019

 

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