Tag Archives: Adelayo Adedayo

“Is God Is” at the Royal Court Theatre

Whether young, middle-aged or old, the women in Aleshea Harris’ play are tired. Traumatised, abused, abandoned – or all three – what drives them is anger. Revenge and rage take their toll, but for the 90-minute duration of Is God Is they create an exhilarating piece – it’s the characters and not the audience who are exhausted.


A hit in New York, the play is a good fit for the Royal Court, where we expect to see the engaging of big themes and explorations of dialogue and theatrical form. And we’re used to a dark sense of humour, which this play takes to an extreme. Is God Is succeeds all round and stands out as original.


Harris’ use of dialect and characters’ deliberate inarticulacy is sophisticated. There are influences from hip-hop and Afropunk (excuse my ignorance – I’m trusting the back of the script on that). But the blunt statements and a new level of deadpan understatement make this murderous revenge story very funny.


As for form, the road trip that twins Racine and Anaia embark on engages with movies as much as the theatre. It’s an Americana tour from the “dirty South” to a not-so-wild West that ends with a showdown. The acceptance of a circle of violence is seldom questioned – as in a movie – which is surprisingly unsettling on stage. In her mad mash-up of Cain and Abel with an inverted sacrifice of Isaac, Harris isn’t scared to create a satire of biblical proportions.

Serious subjects? The title is hardly subtle. The twins’ long-missing mother is immediately and inexplicably identified as God. And ‘She’ issues the mission of murdering their father! Harris makes sure we question free will and plays with plenty of excuses for all kinds of inexcusable behaviour. Messages and morals are skilfully slippery, and audience complicity in blood lust manipulated. For all that praise, the larger motives behind Is God Is get lost.


Firstly, some especially vivid characters prove distracting. This isn’t an even-handed issue. With the men in the show the best we get is Mark Monero’s crisp father (who only appears in the penultimate scene). But the women in the play are – in every sense – fantastic. Both Cecilia Noble and Vivienne Acheampong, two very different kinds of mothers, have great roles that they develop marvellously. More of Acheampong’s Angie would be welcome: this bored housewife, who has her own plans, adds to the mix immeasurably. As for the leads – Tamara Lawrance and Adelayo Adedayo – are barely off the stage and don’t so much hold attention as grab and throttle it: “hard end” Racine and the emotional Anaia are a consistent, entertaining and invigorating pair.


Despite the bizarre premise and having its tongue firmly in its cheek (it really is funny) Is God Is triumphs with its plotting. How old fashioned! Ola Ince’s direction, and a set full of fun and signposts from Chloe Lamford, make this bloody journey breakneck. No matter how crazy, the story is driven impeccably. Gory and tense as well as sometimes silly makes for a fascinating and memorable production.

Until 23 October 2021

www.royalcourttheatre.com

Photos by Tristram Kenton

“The Seagull” at the Lyric Hammersmith

Simon Stephens is a busy man. This week his play Heisenberg received its UK premiere and his new version of Anton Chekhov’s classic has opened. Dauntlessly tackling the 1895 piece, full of unrequited love triangles, the passion and depression in the original comes into focus. There’s no period frippery – not a samovar in sight – no agendas and the sometimes ponderous discussions of Art (capital A) feel unforced. The language is efficiently modern and startlingly down to earth: “get a grip,” says one character. Stephens has grabbed Chekhov ferociously.

There’s plenty of fresh insight and energy all around, abetted by Sean Holmes’ direction and a strong cast. The production is marked by direct addresses, admittedly not all successful, that illustrate a determination to engage the audience. Brian Vernel’s Konstantin has an indie rock star vibe (despite the classical mix in the show’s excellent soundtrack) that makes him feel modern. His unrequited love, Nina, gains a similarly contemporary touch from Adelayo Adedayo’s performance. The character is desperate for fame, fame, fatal fame. But when that dead seagull is presented by Konstantin in a plastic bag she wallops him with it: good girl! Getting in the way of their love, Nicholas Gleaves plays the writer Trigorin with a dash of aloof celebrity that aids the coherence and relevance of Stephens’ approach.

Cherrelle Skeete as Marcia
Cherrelle Skeete as Marcia

The real star of The Seagull is the actress Irina, and Lesley Sharp grasps this part magnificently. While her desperate love for Trigorin is clear, and explicitly depicted, the production calls for her comic skills and Sharp delivers. This snobby Sloane gets laughs for every “darhling” she utters. There are a lot of laughs all around in this production, with the play’s many characters each getting a turn, as desires battle with a cynical cruelty that’s surprisingly funny. Stephens has a great eye for eccentricity and the crazy things this boho crowd gets up to. As the depressed Masha, renamed Marcia with an impressive performance from Cherrelle Skeete, observes: “People are just odd.”

Humour is maintained for a long time. I suspect it might annoy some people. But we know The Seagull is a tragedy and changing key is Holmes’ biggest achievement. For the final scene, mental health issues come to the fore. We see how obsessive, in their own ways, all these characters are. A lot of anger is revealed and not just in the case of our young lovers. The delusions and detachments we’ve been laughing at become dangerous amongst such fragility and an acute sense of the toll time has taken on all. Stephens appreciates the complexity of Chekhov’s vision and has orchestrated it in a new and exciting manner.

Until 4 November 2017

www.lyric.co.uk

Photos by Tristram Kenton