After Sunday at Bush Theatre Review
Written by Sarah for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
A therapeutic cooking class in a secure hospital provides the setting for a glimpse into the lives of 3 men, as the enthusiastic occupational therapist hopes to facilitate connections and conversations through food. The smells and sensations provide rich multi-sensory stimuli in the rigidity of the anodyne ward setting. Together, the group navigate the tumultuous and traumatic events and relationships of a secure ward.
As well as some competitive dumpling making. Working towards cooking for a “family day”, elements of their pasts and events that will shape their futures gradually unfold.
Writer Sophia Griffin successfully creates characters and relationships that are nuanced, affecting and relatable within a world where individuals are often judged, overlooked or feared.
The 4 strong cast all give heartfelt, committed performances. Aimee Powell as Naomi, the spritely occupational therapist, caring and well-intentioned, she has not yet worn down by the system. Leroy (David Webber), the elder and seemingly more fragile member of the group, is soon due for release and is desperate to reconnect with his estranged daughter. Webber plays Leroy with an apologetic disposition; he is physically more vulnerable, but he proves he can more than handle himself and is a gangsta’ in the kitchen, finally in the role of head chef.
Daniel, played by Darrel Bailey, is more unassuming, haunted by his own actions that are now keeping him away from his daughter on her birthday. Ty, played by Corey Weekes, is full of bounce and bravado, masking a sensitive and damaged soul. He is in a hopeless position, desperate to get back to prison, where his sentence would at least have an end date. His monologue is a standout moment of the production. In a powerful polemic, Weekes provokes empathy as he rails against the system he is trapped in and unleashes his frustrations with others, unfortunately, all with a kitchen knife in hand.
The characters and story are robustly constructed, so Corey Campbell’s direction, at times, feels heavy-handed. The actors perform abstract movements during scene transitions, not an uncommon device used to express the inner psyche of characters, but here it is jarring and out of place; overegging the proverbial pudding.
With a disproportionate representation of black men in secure hospitals and criminal justice settings, Griffins’ humanisation is a welcome addition to the stage. Theatre is a powerful vehicle for empathy, connection and a reminder to suspend judgement; exactly what the world needs right now.
at Bush Theatre until 12 November
★ ★ ★ ★
