Such a smart decision by National Theatre to broadcast this play, as part of NT Live at Home. While the themes and issues within the play text such as racism have always been and will continue to be relevant, as National Theatre stated: “Now is the time to learn about the Windrush generation.” This epic, timely, and extraordinary drama was what many people needed to experience right now.
Following a sold-out run in 2019 (I can understand why), this highly praised production of Andrea Levy’s epic novel was brought to life on the Olivier stage. It was good and important that the theatre conveyed a clear content warning beforehand. Explaining that as part of depicting the experience of Jamaican immigrants living in Britain after the Second World War, that occasionally certain characters in the play used language which was racially offensive.
Helen Edmundson’s incredible stage adaptation transported us back to World War Two, telling the fascinating history between two countries: Jamaica and the United Kingdom. Highlighting the year HMT Empire Windrush sailed to Tilbury in Essex, in 1948. Fast forward to 2013 and the Black Lives Matter movement was founded in response to the acquittal of Trayvon Martin’s murderer. More recently, in 2020, the movement has become associated with the murder of George Floyd at the hands of a white police officer. It began as a call to action in response to state-sanctioned violence and anti-Black racism affecting countless people. It is about justice, eliminating barriers, and denouncing the multiple variations of racism in society.
One of the issues that is topical right now is re-examining the past and breaking down historical narratives to include accounts from BAME (Black, Asian and Minority Ethinic) people. What “Small Island” does, is re-contextualise the Second World War to offer another perspective on history: showcasing how the Windrush generation contributed to the war effort and supported the UK through perilous times.
A robust company of 40 actors acted out this play about dreams for the future, faith in the darkest of times, and our wonderfully diverse human race. Three amazing stories, intricately connected, involved the following central characters. Hortense (Leah Harvey) who craved a fresh start away from rural Jamaica and wanted to be a teacher, Queenie (Aisling Loftus) she desired to separate herself from her Lincolnshire past, and Gilbert (Gershwyn Eustache Jnr) he had the career dream of becoming a lawyer.
There isn’t any point in me singling out any particular actor because everyone was consistently strong in the portrayal of their characters; stellar performances all around. The talented ensemble managed to elicit a range of responses from the audience: gasps, laughter, tears, smiles, an attentive silence, and a well-deserved standing ovation. This is what theatre is all about. It is rare to have a play with a particularly long running time, captivate you all the way through from start to finish. Time flew by. I loved how the storylines were structured, often: starting in the middle, going back to the past to catch up to the middle again, then continue the story from there. There was always something interesting happening whether it be visually or pertaining to the action of the plot. Painstaking attention to detail was demonstrated in Rufus Norris’ direction.
Katrina Lindsay (Set and Costume Designer) and Jon Driscoll (Projection Designer) created a breath-taking, authentic, and evocative design. The visual aesthetic resembled the film “Gone With The Wind” at times. They explored contrasts to the look and feel of various places – even borrowing the style of Impressionist paintings for one scene. Archive footage, courtesy of British Pathé, was projected onto the cyclorama and it just made everything all the more real. They used footage from, “Terminus 1961” and “West Indies Calling”. Stage lifts, taking set pieces and actors off stage rapidly, brought light comedy to certain scenes. Plus, this complemented the quick pace of scene changes. Paul Anderson’s lighting captured the scorching heat and dazzling sunlight in Jamaica. At the same time, music composed by Benjamin Kwasi Burrell, was stirring and powerful.
In conclusion, “Small Island” was epic in both senses of the word: remarkable and with a plot taking place over a long period of time. This was a phenomenal production. The best thing I’ve seen this year. Incredibly affecting.
Reviewer - Sam Lowe
on - 19/6/20
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