Review: FOR BLACK BOYS WHO HAVE CONSIDERED SUICIDE WHEN THE HUE GETS TOO HEAVEY, The Garrick Theatre

Johan Persson

Every so often a piece of theatre comes along that’s vital to our cultural awareness. For Black Boys… is one such theatrical event. Six boys attending group therapy is a simple yet perfect backdrop for exploring and explaining their collective struggles against cultural appropriation, racism, gang culture and finding an identity in a society poised against you.

It’s a mark of strength as an ensemble that all six actors deserve commendation. Their talents as individuals come together to create an electric chemistry, camaraderie and collective consciousness that’s intoxicating to watch. Out of the ashes of despair come moments of unadulterated, childish joy that keep you hanging on their every word. Whether by design or by virtue of being able to be open and vulnerable onstage, they celebrate and support one another in a way that is rarely seen in theatre at the moment.

Each performer’s anecdotes, monologues and storytelling are funny and devastating in equal measure. The monologues punctuated by dance and movement in the first act are where the play is at its most engaging. Rory Beaton’s lighting design powerfully takes us from place to place and helps the actors multi-role, conjuring up playgrounds, homes, and workplaces.

What’s particularly successful about this production is its use of set, lighting, music and choreography as a vehicle for expression when words aren’t enough. John Pfumojena’s musical arrangements are simply stunning. Well known lyrics are turned on their head and given a new meaning. This is most poignantly done with Sean Kingston’s 2007 hit Beautiful Girls. Vocals feel organic and emphasise the idea that, although they are individuals, these boys are on a journey together. The choreography of Theophilus O. Bailey is the greatest source of joy throughout the production. It conjures a collective sense of identity, and is used effectively to tell the story of six boys who have often struggled to express themselves in any other way.

The electric energy from Act 1 doesn’t quite carry over to Act 2 and its pace is slightly less engaging. Although it could perhaps have been ten minutes shorter, the stories told in Act 2 are devastatingly raw and movingly told.

Like most important pieces of theatre, those people in our society who need to go and see it probably won’t. It’s a crucial representation of the pressures and struggles continually inflicted on young black boys by our society. Let it educate you, touch you, and leave you hanging on its every word.

**** Four Stars

Reviewed by Eliza Harris

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