“Joseph’s performance is impeccable, passionate and entrancing.”
When Paterson Joseph wrote ‘Sancho: An Act of Remembrance’, which was first performed in 2015, he could never have imagined the relevance it would have amidst the clamour of the Windrush scandal. Inspired by a portrait by Gainsborough and, as Joseph pointedly explains with a twinkle in his eye, an unattainable wish to be in a costume drama, we are lead through the surprising life and fate of Charles Ignatius Sancho. He was born in 1729 on a slave ship bound for the West Indies, brought to London at an early age by his master and subsequently taken in by the Duke of Montagu who employed him as a butler and, more importantly, educated him. Although Sancho was a significant anti-slavery campaigner and was to become the first Afro-Briton to vote in a British general election, his story is one of an aspiring actor, musician and composer, whose ultimate destiny lay in a grocer’s shop in Westminster. Joseph’s script brings a simple narrative alive with the colourful characters who shape Sancho’s life and the everyday events complicated by his origins.
Joseph’s performance is impeccable, passionate and entrancing. His command of the stage and the audience is remarkable. We are captivated by his own charisma and, with humour, drama and eloquence, he steers us through Sancho’s distinctive history, portraying the personalities around him with expressive accents and deftly-handled props. Together with co-director, Simon Godwin, they produce a show which is artfully paced and nuanced; from light-hearted moments involving the audience to the moving speech by Oroonoko, Prince of Angola, we move from one sensation to another. In addition, the frighteningly familiar current situation reflected in Act II builds to a powerful ending.
Inside the shabby-chic setting of Wilton’s Music Hall, the wood of Michael Vale’s set evokes the interior of a ship which stands as a reminder of Sancho’s journey as well as adapting to the many varied scenes. The costumes (Linda Haysman) and props adeptly complete the sense of transition as they are refashioned through the action of the play. The lighting design by Lucrecia Briceno enriches the diverse moods and the interjections of music (Ben Park) mark Sancho’s cultural aspect.
There are occasions when the chemistry between artists and audience transcend a wonderful performance and it becomes a unique experience, hard to put into words. Last night the craftsmanship in the writing and acting, the creative design and strong, pertinent message, were heightened by a receptiveness and a music hall setting which buzzed with excited energy – the enjoyment of a tremendous piece of theatre and awareness of this very British struggle which continues today.
“such a talented actor giving an exceptional performance”
This highly recommended production gives two compelling reasons for a theatre visit. Firstly it provides the rare opportunity to see and hear the terrifically talented Australian Bernadette Robinson in this country and secondly to do so at one of the few surviving grand music halls in the world.
This was my first visit to Wilton’s Music Hall though it certainly won’t be my last. Tucked behind a row of terrace properties in Whitechapel, a short walk away from Tower Hill, this building has undergone a sympathetic restoration process over recent years. Entering the venue there is a sense of awe, a feeling of visiting the past which enhances the anticipation of watching the performance.
Once inside the musical hall there was an angled apron stage on which Robinson performed. This area included several items of furniture that she used to extend the visual aspects of the stories she portrayed. Behind her was a three piece band that was positioned on the raised stage, framed by a magnificent proscenium arch. The stage and her clothing were exclusively black.
Songs for Nobodies was written by Joanna Murray-Smith to specifically showcase Robinson’s exceptional vocal talents and her ability to recreate the sounds of legendary female singers. In this one woman show there are five separate monologues which involve singers from entirely different musical worlds. In each she plays both the megastar and the ‘nobody’ whose life is changed in some way by their interaction with one of those great singers.
We first get to meet Bea, a washroom attendant who meets Judy Garland on the night of her famous Carnegie Hall concert in 1961. Her performance of Come Rain or Come Shine sent a shiver down my spine. Next is Pearl, an usherette in Kansas City, who meets Country and Western star Patsy Cline in her dressing room on the night that thirty year old Patsy was killed in a plane crash. She sings two songs including Crazy and the portrayal of her emotionally expressive and bold contralto voice is perfect. The third monologue is both funny and sad. It tells the story of an English librarian whose father was helped by Edith Piaf to escape from a prisoner of war camp. Piaf’s voice is perfectly recreated and of the two songs performed Non, Je ne Regrette Rien is a showstopper.
Billie Holiday has an immediately recognisable voice. Inspired by jazz instrumentalists it was one that pioneered a new way of improvisation, phrasing and tempo. Again Robinson is able to master this in the story of budding journalist Too Junior Jones. Here the ‘nobody’ is a woman of privilege who meets the wonderful singer and acknowledges the obstacles she faced. In this segment there are three songs including Strange Fruit. The final monologue demonstrates perfectly the voice range that Robinson has. We are treated to a stunning version of Puccini’s Vissi D’Arte where years of her studying classical singing are obvious. It is a great story of an Irish nanny for Ari Onassis and his relationship with perhaps the greatest diva of all – Maria Callas.
The audience reaction to the show was an immediate and thoroughly deserved standing ovation. Bernadette Robinson is clearly the star of the show but the overall enjoyment is enhanced by the support she receives when on stage. The three piece backing band is set in the background and never attempts to upstage the singer. There is some remarkable lighting from Malcolm Rippeth who manages to both spotlight and flood the stage superbly. Designer Justin Nardella brings a black understated style to the stage and Justin Teasdale with Tony Gayle produce a perfect sound design in what could be a difficult acoustic hall. Simon Philips directs the show expertly ensuring the audience is never in doubt as to who the star of the show is.
I left the theatre feeling privileged to have witnessed such a talented actor giving an exceptional performance in a wonderful theatre environment. It was a real highlight of my 2018 theatrical year so far. I loved it!
