Tag Archives: Suzan-Lori Parks

“The Book Of Grace” at the Arcola Theatre

In Suzan-Lori’s Parks’ excellent play, honourably discharged US soldier Buddy returns to his estranged family. One of a trio of fantastic characters, Buddy is superbly performed by Daniel Francis-Swaby who, appropriately for his role, is a strong orator. Buddy is counting “strikes” against his father and against “the man”, and we all know nothing good happens after the third one. Parks plots brilliantly making this cerebral also a thriller. Francis-Swaby reveals how disturbed his character is with skill. Director Femi Elufowoju jr makes the most of the script and cast to make sure not a single ball pitched is missed.

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Peter De Jersey and Daniel Francis-Swaby

The subject of Buddy’s anger, guilty of “unspeakable” acts never specified, is his father Vet, an unhinged border guard played with passion by Peter De Jersey. Vet’s obsession with the “fence” he patrols (the play dates from 2010) comes close to comical. But Parks explains its importance with conviction. Despite being a terrifying figure, De Jersey makes Vet vulnerable; when he snarls about “my home” the delivery expertly conveys his fear as much as his anger. The play scores as a family drama as much as it provides insights into American politics. Vet is scary, every moment with him is a roller coaster, and his instability provides the play with many twists.

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Ellena Vincent

Vet’s victim, and the heart of the piece, is his wife Grace, whose scrapbook of good news stories gives the play its title. Bearing in mind her husband has dug a grave for her in the garden, her optimism surrounding family reconciliation might seem misplaced. Yet a commanding performance from Ellena Vincent means we believe in Grace’s quest for positivity and her taste for Cat Steven’s Peace Song doesn’t seem silly…it is important. The book, another device that allows Parks to structure the play so well, becomes a precious object; its fate is painful. But living up to the virtue Grace is named for provides optimism, insight, and a home run for a play that is both bleak and brilliant.

Until 3 June 2024

www.arcolatheatre.com

Photos by Alex Brenner

“Father Comes Home From The Wars” at the Royal Court

This American Civil War story, much lauded in the US, comes in three parts, following the adventures of its main character, a slave called Hero. Opening with a debate over his ‘choice’ to accompany his master to war, the second act sees a similar dilemma – an encounter with a Yankee soldier that presents him with an opportunity to escape. Finally, Hero returns home a traumatised man. All three vignettes are strong and cumulatively powerful.

Are you waiting for a twist? There is one, of course – playwright Suzan-Lori Parks’ inspiration is Homer. Character names are enough of a clue (a dog called Odyssey has a talking role in the final scene) but also note that, in true Greek style, songs play an important part and there’s a distinct lack of action on stage. So there’s highfalutin analysis to be done here, for sure. Above that is Parks’ skill at story telling. Simple. This is an emotive tale of twisted interdependence. Politics aside, the psychology is fascinating, the writing clever but never tricksy. The concept might sound contrived but it’s a back-to-basics approach that works.

The show is also superbly acted. Steve Toussaint as Hero deserves to be singled out. Having to shoulder so many dilemmas, it’s an achievement to hold the audience so confidently. Working with him is an excellent ensemble – a chorus of fellow slaves who return in the finale as runaways, comprising Sibusiso Mamba, Jason Pennycooke and Sarah Niles. Special mention also to Nadine Marshall as Hero’s love, Penny, whose accent is superb and who ensures the emotions in Parks’ riff on the theme of loyalty.

The play’s questions of identity need little further stress – restraint is the key and with this director Jo Bonney’s job is well done. Moments of direct address or the use of modern costume feel like guiding hands rather than gimmicks, so deftly are they handled. Parks is a shrewd observer of history, an original thinker and technically accomplished. But she also has a sincere eye – with a watch on contemporary resonances and why these lives matter – that confronts the audience and sends a chill down the spine.

Until 22 October 2016

www.royalcourttheatre.com

Photo by Tristram Kenton