16 – 17 July

As site specific performances go this one was about as appropriate as it gets. Under a white awning on what was the hottest day of the year to date, seated ashore in front of the replica of the Matthew, John Cabot’s ship which he sailed to discover Newfoundland in 1497. The deck of the Matthew was conveniently at the same height as the quayside and was thus used as the stage for much of the play, the actors stepping easily from ship to shore without the need of a gangplank.

The play, by Rex Obano, is based upon the documented first performance of a Shakespeare play, Hamlet, in (or rather just off the coast of) Africa, on the East India Ship, Hector, on 5^th September 1607. Yes, whilst Shakespeare was back in London still busily writing. On board for the performance was Lucas Fernandez (Ayodele Scott) a Portuguese speaking Sierra Leonian translator, who in this version is also advisor to the Prince.

Mr Obano uses the episode to tell a story about cultural interaction and the nascent British Empire. Interestingly the treatment of racism or perhaps more accurately cultural mistrust, is comically shown as a two-way exchange with each group, i.e. the British and the native Sierra Leoneans, referring to the other as, ‘savages’.

The form of the play is in fact a play within a play; indeed at one point during the ‘play scene’ in Hamlet it is a play within a play within a play. In the opening scene an East India Company nabob, William Hawkins (Eliot Giuralarocca) is obsequiously fawning on Nur Mahal (Natali Servat), wife of the maharajah, in an attempt to be allowed to stay and tells the story of the Hector, pretending himself to be William Keeling for reasons not entirely clear to me.

One of the ship’s crew, George King (Joe Feeney), is accused of sexually attacking Musu (Marième Diouf) the love of Prince Kpana (Ray Sesay) having already admitted to stealing from the tribe along with fellow seaman, Edumund Buckbury (Danann McAleer). Hamlet is performed in the hope that the ‘play’ scene will expose the guilt of Prince Kpana who Keeling and Captain Rogers (Adam Scott-Rowley) suppose to have poisoned his own father in order to become king and marry Musu. The scheme doesn’t work as expected, but the Africans are glad to see the back of the English when they eventually sail away.

The slightly tortuous plot is helped by some enthusiastic African dance, choreographed by David Dravie-John and a folk tale narrated by Musu’s friend, Adama (Pauline Babula). It’s an interesting and entertaining play about a little-known episode of cultural and colonial history which once bedded-in deserves a wider audience.

After another dockside performance in Bristol on Sunday it moves to London for a short stint at the Bridewell Theatre from 20-23 July.

★★★☆☆  Graham Wyles 16 July 2022

The Hamlet Voyage

The Hamlet Voyage: A new play by Rex Obano, long-listed for the Alfred Fagon Award, has its world premiere on board the Matthew ship at the 50^th Anniversary Bristol Harbour Festival 16-17 July.

16&17 July at the Bristol Harbour Festival – Underfall Yard Café, Cumberland Rd, Bristol BS1 6XG

12pm and 4.30pm both days

Free and unticketed event – limited first come first serves seats available on board the Matthew ship with more on the shore at Underfall Yard.

The Harbour Festival Performance is suitable for all audiences.

Note: This show will take place entirely outdoors. In the case of inclement weather performances may be delayed, modified, or cancelled