21 – 22 April      

It is fast approaching the 75^th anniversary of the arrival of the Empire Windrush at Tilbury docks. Windrush Day, on 22 June, has become a symbolic moment in the transformation of Britain to a multi-racial community. Rush Theatre’s loving recreation of the life and songs of Bob Marley is a powerful way to celebrate all things Caribbean, and through Marley’s lyrics be reminded of the ongoing political struggle for equality and opportunity, and reflect on how far we have come and what more is still to be done.

Bringing a lively reggae party feel to this show, Rush’s The King of Reggae is more a double set of tunes than a theatrical production. But singer IKA’s stage presence as Marley was always enough to carry the night, supported by the 8-piece JA Reggae Band and the glorious backing vocals of Lynesy Davidson, Naomi Brown and Audrey Small, bedecked in Jamaican and Ethiopian colours. The entire auditorium was on its feet, moving and singing along for most of this 20+ double set of Marley hits. This is only briefly interrupted throughout by broad brush narration from a spritely Andrina Davis, the narrative loosely split into four ‘acts’ to give some context to the song writing.

‘Early Days’, covered Marley’s upbringing and his first musical experiences in Nine Mile, Jamaica, (No Woman No Cry, Concrete Jungle) and his first associations with local musicians Desmond Dekker and Jimmy Cliff, later Peter Tosh and Bunny Wailer who joined Marley to become the most prominent members of the Wailers; ‘Rudeboy to Rasta’ explored his run in with the law (I shot the Sheriff), before his more spiritual focus in Rastafarianism (Rastaman Vibration, Iron Lion Zion); ‘Ladies Man’ charted some of the many relationships Marley had beyond his marriage to Rita and the ‘football team’ of children that ensued, (Is This Love, Waiting in Vain, Stir It Up); and finally ‘The Messenger’ examined Marley’s role as peacemaker in the Jamaican political civil war of 1978 (One Love, Jammin) and his interest in Afro-Caribbean politics and the influence of Haile Selassie and Marcus Garvey on his lyrics (War, Redemption Song, Buffalo Soldier, So Much Trouble in the World, Exodus).

The band always stayed true to the original recordings, led by the exquisitely warm bass playing of musical director Reed Bass. Anne Tinsley and Adrian Gibson were a wonderfully entertaining brass double act on sax and trumpet respectively, while Jonathan Escoto Brown’s guitar work, especially for Redemption Song was a highlight. IKA always commanded the stage as the denim wearing, dreadlocked Marley.

The Old Vic felt transformed into something of a mini Jamaican Festival for the night. You could eat jerk chicken, rice and peas and dumplings in the foyer before or after the show, look through the Jamaican jewellery on sale or just mingle amongst a happy crowd, including the musicians at the end, simply out to enjoy itself. This was some of the ‘One Love’ Marley was singing about. Don’t miss it!

★★★★☆  Simon Bishop, 22 April 2023