Tag Archives: Heather Agyepong

“Shifters” at the Duke of York’s Theatre

A lot of people are understandably excited about playwright Benedict Lombe. Shifters is only her second piece, a hit transfer from the Bush Theatre, and is a smart take on a romcom that deserves its big success. The production is a credit to director (and unerring talent spotter) Lynette Linton, as well as the two cast members – Heather Agyepong and Tosin Cole – who should get their mantlepieces ready for trophies.

It’s the story of Des and Dre and, as you might guess, the narrative… shifts: from schoolfriends to lovers to their breakup, and then meeting again after many years. But Shifters is also a memory play, so the action goes back and forth, flipping between that reunion and the couple’s history. Linton makes sure the toing and froing is clear (credit also to the excellent lighting design by Neil Austin), and Lombe uses the structure of her script thrillingly.

“Epic and easy”

The time travelling is great. And it gives rise to big questions. Lombe has things to say about the science of memory, and even first love, raising lots of issues about race, gender, psychology and communication. It helps that Des’s dad is a neuroscientist and that she is a visual artist. There is fresh thinking on tropes around romance – take the idea of soulmates or, rather, if you only have one, should that be sole mates? For each, Linton gives the audience time to think.

Both characters are thinkers, too. They met in debating class at school, and they appeal and excite as a result. That they are so well matched makes the show undeniably sweet, even if they end up apart. Their arguments are fun as well as profound. Nothing is heavy handed, although there are also serious events – Des and Dre have faced trauma. It is telling that Lombe’s skill makes deceased family members vivid characters. Overall, Shifters is marked by its optimism. It’s a relief to watch a play about two successful people! Even if their love didn’t work out, they have fulfilled big dreams.

Maybe their achievements help with the comedy in the piece – this is a very funny play. The repartee between Dre and Des is superb, Agyepong and Cole deliver every line perfectly and are a joy to watch. The swift changes in time, and mood, make the play a tough ask of its cast. Over the course of the years, their characters also shift. But that great sense of humour is the key. Even through heartache, Dre and Des can laugh together, and it proves impossible not to fall in love with them – and this play.

Until 12 October 2024

www.shifterstheplay.co.uk

Photo by Marc Brenner

“School Girls; Or, The African Mean Girls Play” at the Lyric Hammersmith Theatre

Jocelyn Bioh’s play soars above the average high school drama because of its brilliant comedy and its Ghanaian setting. The plot is deceptively simple and playfully predictable, as well as remarkably effective and hugely entertaining. For this UK première, the play is, also, brilliantly performed.

With its subtitle nodding at a Hollywood film (American culture looms large over these children’s lives), the schoolgirls of the title have the kind of cliques you find the world over. Bioh has written fantastic characters led by Paulina (Tara Tijani), who is the school Queen Bee and nasty with it. But from the start, none of her followers are that meek, which leads to a lot of humour. Ama may be the first to answer back, but Gifty and Mercy have minds of their own, and Nana rebels quickly. It is the entrance of new girl, Ericka, that sets up the drama, and more great jokes follow.

The performances are accomplished. Led by Tijani, Heather Agyepong, Francesca Amewudah-Rivers, Bola Akeju and Jadesola Odunjo (a cracking stage debut) convince as a clique full of tension and discontent. Anna Shaffer is also superb as the new arrival, carefully revealing her character’s life story.

Every line is made the most of, but that’s only half the fun – reactions to the insults or slights are brilliant. Pay attention and keep your eyes peeled. Director Monique Touko has engendered detailed performances that are a delight.

Deborah-Alli-and-Alison-A-Addo-credit-Manuel-Harlan
Deborah Alli and Alison A Addo

The teens are funny in their naivety (the 1986 setting adds here) but competing in an international beauty contest becomes a big deal for Paulina. She isn’t the only one taking it seriously. A recruiter, a former pupil at the school and Miss Ghana 1966 herself, turns up. Alongside the school’s admirable headmistress, these are two strong roles for Deborah Alli and Alison A Addo, who anchor the show and provide the potential for debate – the contest can change lives, but at what cost?

The highlight of the show is a trial pageant. Given the 1980s fashion, costume designer Kinnetia Isidore is the real winner here but, after a singing section (that reduced me to tears), we get a twist that emphasises the racism and colourism these characters face.

Paulina is revealed as “crazy and desperate” – the lies we’ve been laughing at are truly pathetic. And, sadly, Paulina knows it. When she tells the fairer-skinned Ericka: “the world has already decided you are better than me”, it is heart breaking. The end of the show is bravely downbeat and the energy Touko has kept so electric plummets, but it serves to illustrate how perfectly controlled the whole production has been – top marks all around.

Until 15 July 2023

www.lyric.co.uk

Photos by Manuel Harlan