Tag Archives: Nancy Medina

“A Good House” at the Royal Court Theatre

Behind the important subject matter of Amy Jephta’s play is a strong comedy with excellent characters. When a shack appears at the edges of an upmarket housing estate the neighbours’ anxiety reflects wide concerns – especially relating to Jephta’s home of South Africa.

The twist is that while two of the couples who make up the community are white, the husband and wife they approach to help with an eviction order against their new neighbours are black. It is a simple scenario, and it is easy to imagine moments that would have more charge for an audience outside the UK. But the strength of the writing and plenty of detail aid credibility. If the piece comes too close to being just a vehicle for debate, it is a very good mode of transport.

There are three brilliantly written couples, each complex and wonderfully embodied by an excellent cast that includes Kai Luke Brummer, Olivia Darnley, Robyn Rainsford and Scott Sparrow. The observations about them are spot on and Nancy Medina’s careful direction makes the most of Jephta’s work. The arguments the couples have amongst themselves are, particularly, an insightful delight.

The stars, who the play spends most time with, are undoubtedly Mimî M Khayisa and Sifiso Mazibuko, who take the roles of Sihle and Bonolo. Both are wonderful creations. Despite being very different (their backgrounds are explored in depth), it is easy, compelling in fact, to respect them, and both performers bring them to life not only with integrity but with an eye to the excellent humour in the script.

Jephta has a brilliant way with class and race – both are satirised with cringe-worthy moments and full-on offensive remarks. A great effort is made towards balance, cleverly flipping between prejudices surrounding both. Is racism or capitalism the dominant evil? There are plenty of opposing arguments on offer. It does make sense that people care for their community, and it is obvious that they value their homes, but nobody has seen those living in the shack… we know nothing about them.

Money is the key, as the buck literally stops with house prices. There’s a fantastic moment for Darnley, whose character is an estate agent and whose exasperation is wonderfully well hidden. Jephta engenders debate, and her play is all the better for that. With a clear take on human nature and how identities are constructed – by ourselves and others – what’s built here is a sturdily constructed play that is worth a great deal.

Until 8 February 2025

www.royalcourttheatre.com

Photos by Camilla Greenwell

“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