16 – 25  January

Talawa describes itself as Britain’s outstanding Black British Theatre Company, and that its purpose is to champion Black Excellence and reflect Black experiences through art. On the evidence of last night’s currently touring production, theirs is not an idle boast. This mash up of Shakespeare’s Twelfth Night, with Illyria transformed into a 1940’s Cotton Club, in Harlem, New York, is a hit every bit as big as the 24 delicious Duke Ellington songs that are featured in the piece.

On a set resembling a club dance floor with bars left and right, the back of the stage is a raised tiered area for the five-piece band who create a sultry atmosphere before we are treated to the first of many dazzlingly choreographed street-inspired dances by the company.

While the story largely plays out via Ellington’s lyrics, Play On! is much more than a juke-box musical. Originally conceived by American Director Sheldon Epps for which he won three Tony Award nominations, here Director Michael Buffong, working with choreographer Kendrick H2O Sandy, has injected irresistible energy into Shakespeare’s original romantic comedy, keeping some but not all roles alive in an outstanding performance of scintillating song, dance and expressive theatre.

First up, we meet Rev (Malvolio) played by Cameron Bernard Jones, who is holding an exhausted dance ensemble to account with relentless rehearsals. As manager of New York’s hottest nightclub, Rev feels the weight of responsibility on his shoulders. Bernard Jones builds Rev’s obsession with correctness and punctuality to heights where his eventual ridicule when  tricked into wearing an outrageously flamboyant yellow suit in his attempt to woo Lady Liv, will be all the more acute and hilarious.

The Duke, (Ellington, not Orsino) played with effortless presence by Earl Gregory is in his pomp as the must-see act in town. Experiencing pain in love as Lady Liv (Olivia), the club’s star singer, is not reflecting his passion for her, his muse is drying up. Enter Viola (Tsemaye Bob-Egbe), newbie songwriter with ambitions to learn from the greatest while also looking for a chance to declare her love for the man. But on her arrival her uncle Jester (Feste), played with engaging sassiness throughout by Llewellyn Jamal, spells out the rules of the patriarchy – women can’t write songs – they can sing, yes, but that’s it. What to do? With the help of her uncle, the fun begins when Viola disguises herself as young dude Vyman, and pursues the Duke for job opportunities and love. Vyman is tasked with winning Lady Liv over for the Duke, but the love triangle is complete when, instead, the diva falls for the charms of the ‘young man’.

Lady Liv’s arrival on stage signalled an upping of all levels of entertainment. Her fabulous Act II opening number I Ain’t Got Nothing But The Blues signals a greater depth to the storytelling in which Rev alludes to the injustice of running the club for white patrons who refer to him only as ‘Boy’. The act continues with a series of memorable duets: Jester and Sweets (Sir Toby Belch) played by Lifford Shillingford, having been dumped by their respective partners, bring the house down with Rocks in My Bed, while Rev and Lady Liv find reconciliation with their heartfelt Something to Live For. Other Ellington classics are here to enjoy – Take the A Train and It Don’t Mean A Thing light up the evening, while lesser-known ballads such as Don’t Get Around Much Any More were given gorgeously warm tones from the band – a memorable evening’s entertainment given a standing ovation at its conclusion.

★★★★★  Simon Bishop, 17 January 2025

 

Photo credit: Ellie Kurttz