Tag Archives: Cyril Nri

“Trouble In Mind” at the National Theatre

Alice Childress’ 1955 play takes us behind the scenes of a Broadway show about racism in the American South. Focusing on the theatre, Trouble In Mind gets to the heart of issues about representation that are topical and important. And it does so with passion, intelligence and wit.

Childress’ anger isn’t hard to spot. There are difficult moments as the cast explores the play it is rehearsing. The story of one actor, who witnessed a lynching as a child, is incredibly powerful (Cyril Nri does this pivotal scene justice). Frustration with the play within the play – its skewered view of African American life – is compounded by the aggressions the performers face as they work with white colleagues, for a white audience.

The debate is nuanced even if Childress’ opinions are clear. Care is taken to make sure the show’s director character is no straw man. Objectionable, insufferable even, and a figure of fun, the performance from Rory Keenan makes sure we still take what he has to say seriously. Arguments about the compromises supposedly needed to get the show on stage are given space.

It is the humour in the show that makes it memorable. Trouble in Mind is a very funny play. All the hypocrisy could be painful but is brilliantly handled by both Childress and the production’s director Nancy Medina. Asides, verbal and physical, get laughs as well as provoking thought and showing tension. Naana Agyei-Ampadu’s performance as the formidable Millie is magnificent – a great character, superbly rendered.

Tanya Moodie’s performance in the lead role of Wiletta deserves the greatest praise. Having excelled in the role before, Moodie lives as much as performs the part. That’s an amazing achievement, given how the character flips from being a duplicitous old theatre hand to an exposed novice who wants to really act and do “something grand”.

The relationship with old and new colleagues (strong performances from Gary Lilburn and Daniel Adeosun, pictured) is a joy to watch. Wiletta is warm but steely, open yet suspicious, from one moment to the next. Moodie’s performance is one of the best I’ve seen – anytime and anywhere – and is a five-star experience that is not to be missed. 

Until 29 January 2022

www.nationaltheatre.org.uk

Photo by Johan Persson

“Barber Shop Chronicles” from NTLive

With a trio of companies behind it – and, don’t forget, links for donations – the National Theatre, Fuel and Leeds Playhouse gave us something for the weekend with Inua Ellams’ play. This recording, from the London run in 2018, reminds us why this piece – which covers vast ground geographically and brings up plenty for debate – was so warmly received.

Scenes in barber shops in London, Lagos, Accra, Kampala, Johannesburg and Harare add up to a lot. And we encounter plenty of colourful characters (Patrice Naiambana’s Paul was my favourite although Hammed Animashuan’s performance was brilliantly scene stealing). Alongside a powerful drama between Emmanuel and Samuel, which make good roles for Fisayo Akinade and Cyril Nri, there are all manners of observation on language, politics, race and culture. It’s all interesting, although maybe not always subtle, but it could easily be overwhelming.

Hammed Animashau in Barber Shop Chronicles at the National Theatre (c) Marc Brenner
Hammed Animashau

Ultimately, these chronicles are a collection of small studies and intimate scenes. Director Bijan Sheibani skilfully combines the big picture with close details, and the result belies any shortcomings. Ellams’ touch is light, while segues between scenes, with singing and dancing, are excellent. What could be confusing proves energetic. And the play is funny: jokes are used pointedly and there’s plenty of wit to enjoy.

While the barber shops, as a “place for talking”, serve as an effective device for holding the play together, what really does this job is the theme of fatherhood. The stories take in violence and various ideas of legacy and inheritance, offering plenty of insight. And it’s interesting to note how much bigger than biology the theme of parenthood becomes. Connections between the characters are handled carefully (until the end, in a clumsy moment that really disappoints). Ellams’ play, with Sheibani’s help, ends up more than the sum of its parts. And, given that it has more parts than a barber shop quartet, that’s really saying something.

Available until Wednesday 20 May 2020

To support visit nationaltheatre.org.uk, fueltheatre.com, leedsplayhouse.org.uk

Photos by Marc Brenner