A dynamic adaptation of Sam Selvon’s Windrush novel portraying a group of Caribbean migrants and their ferocious struggle to belong in London.
Roy Williams’ familiar eloquence when writing characterful monologues, and his raw commentary on England are evident in his new adaptation of Sam Selvon’s classic novella ‘The Lonely Londoners’. Where the original story felt void of plot at times, this new play skilfully creates a passionate portrayal of Caribbean immigrants arriving in London only to find they have swapped one island for a much colder one. Director Ebenezer Bamgboye orchestrates dynamic and stylised sequences that immediately set the tone and message of the play, and to top it off a strong ensemble deliver ferocious performances with each cast member getting their own stand out moment.
The title, The Lonely Londoners ,perfectly summarises this haunting tale of brotherhood and acceptance in the face of adversities. The plot follows four men emasculated by being unable to provide for themselves or the loved ones they have brought over to England. When the women in their lives seem to thrive in this harsh new land it forces the men to re-evaluate what it takes for them to survive in London and the lengths, they will go to hustle their way to a comfortable life. Frustrated by not getting the treatment they deserved or were promised after fighting wars on behalf of the motherland or answering the call to rebuild her, each man takes up their own vice in the face of his challenges. For non-Caribbean natives the thick lyricism of the Caribbean accents can take a while to get into but once your ears adjust the humour of recurring gags like the mispronunciation of places in London are easily enjoyed and splice the hard-hitting drama.
A small black box theatre is transformed into a cramped London bedsit, the back room of a dancehall, a busy marketplace, and a park full of pigeons all with the use of stylised movement sequences. Although entertaining to watch, at times these sequences felt cluttered amongst the already high energy performances, and they tended to over egg the tone and message of the scenes. The movement sequences were most effective during Aimee Powell’s character Christina’s tender illustration of raising her child on her own. The muscularity and suspension in her movements shows how her child ages during the physical theatre piece. Equally, the last sequence where the leading men lean into one another creates a powerful sequence of trust falls and lifts beautifully showing them breaking down and building each other up, it is moments like these where the choreography by movement director Nevena Stojkov is best used.
Often the anachronistic production elements such as the music and lighting felt jarred and disconnected, although some audience members may find this as a welcomed contemporary twist offering a spectacle to the the simple set of just wooden floors and Brechtian style blue trunks for the cast to sit on whilst not in the main scene.
Gambit Cole is captivating as Moses, a father figure to his friends, he knows the most about survival in London but is haunted by the regrets of his past and what he left behind in Jamaica. Moses’ line “I can’t die here” is spoken both in his present situation in London and a flashback to his past in Jamaica reflecting how he can’t get away from his problems. Galhad, played by Romario Simpson, is relentless in his optimism. Always going back for more when he is knocked down in hope of acceptance, his rousing monologue where he rages against himself, and his own blackness exemplifies the central feeling of living in the mother country and feeling like a motherless child.
From hunting pigeons in the cold to reminiscing on the life that could have been had you made different choices, this play has a lot to offer, and It will be interesting to see how it is developed for bigger stages. Although the harsh realities of London force the characters to survive as the ugliest versions of themselves, ultimately, they come to the realisation that they are lonely but not alone.