Mulatto Boy, Omnibus Theatre Review
Edi De Melo in Mulatto Boy. Photo by Ewa Ferdynus
Reviewed by Bronagh for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Mulatto Boy is a show that explores identity, using spoken word as well as traditional Angolan dance and music. The show follows Huvi, a young man who has lived in Britain for all of his life but upon applying for British Citizenship is in for a shock.
The plot itself is quite simple and easy to follow. We start with a young woman leaving Angola and moving to Britain where she has a baby – Huvi (Edi de Melo). Huvi lives his best London life, supports Arsenal and gets himself out to the clubs. It’s when his girlfriend, a white Londoner, wants to get married abroad where his citizenship and true identity are brought into question. We see the tribulations of applying for British citizenship, the agonising wait if you apply for a reconsideration of a decision, and the overarching feeling of bureaucracy.
de Melo is joined by the Griot (Tunji Lucas) who stays mainly on the outskirts, joining Huvi to play the drums, and a harmonica or engaging in breakdancing. At times both talk to the audience, as well as each other. Their joint performance is gorgeous to watch, choreographed and performed to perfection. The rhythm of the script and the rhymes are complimented by the drum beats, keeping up a fun and steady pace.
I really enjoyed the variation of storytelling mediums, particularly a fan of the spoken word which gave the script such a flair which was amazing to listen to. Adding dance – both traditional and more modern club-style dancing, to the audiences’ delight– to this mix gave Mulatto Boy such a creative, interesting flow. The movements all flowed effortlessly, telling a story through dance and traditional Angolan music. Throughout Huvi is in conversation with unseen speakers, ranging from his girlfriend and her family to Home Office call centre handlers. I did assume that these are prerecorded, but if they’re not then this is a testament to the sound team.
The set of Mulatto Boy is simple, a stark difference to the story being portrayed. The stage is in the centre of the room, unlike any other performance I’ve been to at the Omnibus Theatre, with the audience surrounding it. There are random bits and pieces scattered and moved around throughout used as basic props. This is certainly the only simple part of the production, not taking away from the story itself. Harriet White’s lighting compliments the simplicity, being used to dramatize and enhance the mood of the show.
Overally Mulatto Boy is an impressive production, and one that I would recommend to anybody. What is seen as a simple plot delivers a fantastic exploration into identity, in a funny yet thought provoking production.
At the Omnibus Theatre until 3rd November.
☆ ☆ ☆ ☆
