REPARATIONS at the Soho Theatre

★★★

“Garad has created interesting, deeply layered characters in this impressive show”

Maryam Garad presents a compelling debut show as part of the Soho Rising season showcasing new talent. She has a commanding stage presence, navigating the audience deftly through an intricate tale of growth and felony. There were a few issues with pacing and direction, but Garad is clearly a raw talent with huge promise.

Reparations follows the story of Aisha, a 24 year old from the ends who is rebuilding her life after a stint inside. She was convicted after finally getting caught out for her kleptomania, which she has lived with since childhood. On a walk in a park that stretches from Aisha’s estate to a wealthier, whiter, performatively yoga-practising neighbourhood, Aisha and V lock eyes, each intrigued by the other. Another run-in at a club cements a friendship, and then business ventures; Aisha offers V social clout and ‘authenticity’, and V introduces Aisha to her rarefied world of privilege and wellness.

Garad explores a plethora of meaty issues, including class, race, the criminal justice system, and social media through her fascinating anti-hero Aisha (and her wellness guru alter ego Alyssa). She is not afraid to explore the grey areas, and invites the audience into Aisha’s vulnerability as a contrast to her swaggering, and sometimes dangerous adult life. For all this, Reparations is laugh out loud funny, with Garad’s charm landing all the humour.

She embodies all her characters with a natural ease and great physicality, from Aisha’s caring Somali aunt, to V’s plummy Made-in-Chelsea tones, and a hilarious turn as a sham shaman.

For all these efforts to guide the audience through a complex story, there are a few narrative jumps that feel a little challenging. The sudden leap to a wellness camp in Peru felt unsettling, suddenly a world away from the familiarity of a London park. I would have liked to see more how V and Aisha’s relationship developed, and more exploration of how Aisha rebranded herself as Alyssa. A side character is attacked as part of the Amazonian drug-taking ceremony, and then described as ‘lifeless’. Was this actually murder? It’s not dwelled upon again.

The direction could also do with tightening up to show more differentiation between scenes, the transitions of which were inconsistent. Sometimes these were stark and interesting, a change of song or lights snappily moving the narrative along. Other times this was less clear. Lighting is used occasionally to powerful effect, such as when Garad stands to stage left, half lit, reflecting the hidden darkness growing in her as a seven year old. A sterile probation room is harshly lit, but in other scenes the colours were incongruous. There were a couple of issues with props, though one of these was dealt with hilariously, Garad not even flinching as she ad-libbed.

This may be my age showing, but I also am not sure this story needed to have the social media success framing at the top and tail as there’s so much to explore without this. We do not see how Aisha’s following is built up over time, or get to put a microscope on V and Aisha’s codependent relationship. I love a story about infamous scammers (c.f. Anna Delvey or Caroline Carroway) and their rise is part of the legend. I feel like the audience is robbed of some of that here. The importance of a social ‘brand’ is also maybe a bigger deal for younger people, but the prevaricating on this did leave me, a less-online millennial, slightly cold.

None of this takes away from the fact that with another round of editing, Reparations could be a classic. I’m so intrigued to follow this consummate performer as she launches her career. Garad has created interesting, deeply layered characters in this impressive show, and I cannot wait to see more of her.

REPARATIONS at the Soho Theatre

Reviewed on 9th February 2024

by Rosie Thomas

Photography by Clara Lattimer Walter

Previously reviewed at this venue:

FLIP! | ★★★★ | November 2023

BOY PARTS | ★★★★ | October 2023

BROWN BOYS SWIM | ★★★½ | October 2023

STRATEGIC LOVE PLAY | ★★★★★ | September 2023

KATE | ★★★★★ | September 2023

EVE: ALL ABOUT HER | ★★★★★ | August 2023

STRING V SPITTA | ★★★★ | August 2023

BLOODY ELLE | ★★★★★ | July 2023

PETER SMITH’S DIANA | ★ | July 2023

BRITANICK | ★★★★★ | February 2023

LE GATEAU CHOCOLAT: A NIGHT AT THE MUSICALS | ★★★★ | January 2023

WELCOME HOME | ★★★★ | January 2023

REPARATIONS

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★★★★★

“inclusive theatre at its finest, it is warm and funny as well as being shocking and moving”

Jenny Sealey bursts onto stage with frankness and with warmth in this one-woman autobiographical show.

Sealey is deaf, and much of the show explores her experiences growing up in a hearing world. Certainly, the crafting of the show, which uses on screen sur titles and weaves in Jeni Draper, Sealey’s ‘terp’ (on stage interpreter) is consciously, and beautifully inclusive. However, to view the play as purely about deafness would be to box it in, and ignore the poignant and gripping family drama which Sealey unfolds.

Sealey, along with co-writer Mike Kenny and director Lee Lyford create an on-stage world which feels comforting, honest and genuine. Some of this comes from Sealey herself, who is charismatic and witty. Everyone in the audience wants to be her friend. But there are also more technical elements. It is nothing new to see an on-stage interpreter, but the way she is used in this production feels fresh and unusual. She is introduced and included in the show, her role falling somewhere between interpreter and performer. This gives Sealey a support on stage which makes her not seem so alone. This adds to the kind and safe space and allows the audience to enjoy the darker moments of the story, without fearing for the wellbeing of the performer.

Something which also builds up this very special world is that the captioning and video design is by Jonah Sealey Braverman, Jenny Sealey’s son. He is very much a part of the story, and his voice appears in voiceover throughout the play. This laid much of the creative process bare, bringing the audience along the journey with the team, and this transparent nature makes Sealey and her story even more personable and engaging. She lets us behind the curtain, and treats us, too, like family.

The set is simple, three kitchen cupboards which light up, and a projector screen. The designer Anisha Fields and lighting designer Emma Chapman execute a playful vision, with the cupboards lighting up in bold different colours.

This is inclusive theatre at its finest, it is warm and funny as well as being shocking and moving. It never feels preachy or worthy and the audience is welcomed into Sealey’s tangled web of a family drama.

REPARATIONS at the Soho Theatre

★★★

“Garad has created interesting, deeply layered characters in this impressive show”

REPARATIONS at the Soho Theatre

Reviewed on 9th February 2024

by Rosie Thomas

Photography by Clara Lattimer Walter

Previously reviewed at this venue:

REPARATIONS

REPARATIONS

SELF-RAISING at the Soho Theatre

★★★★★

“inclusive theatre at its finest, it is warm and funny as well as being shocking and moving”

SELF-RAISING at the Soho Theatre

Reviewed on 8th February 2024

by Auriol Reddaway

Photography by Tiu Makkonen

Previously reviewed at this venue:

SELF-RAISING

SELF-RAISING