By Sara Bright
The intersection of theatre and music often sparks innovation and reimagining, with productions boldly experimenting with genre, culture, and storytelling. The recent wave of productions across the UK, such as Play On!, A Good House, and Moby Dick, exemplifies how modern theatre is not merely a place for dialogue but a canvas for expression, where each performance redefines boundaries. These productions, set across diverse landscapes – from jazz clubs to suburban South African communities, to the depths of the ocean – demonstrate the evolving role of theatre as a mirror to both our shared history and modern concerns.
Play On! – A Jazz-Fueled Tribute to Shakespeare and Duke Ellington
At the Lyric Hammersmith, Play On! brings together Shakespeare’s Twelfth Night and the vibrant world of Duke Ellington. Directed by Michael Buffong and produced by Talawa Theatre Company, this musical reimagines the comedic elements of Shakespeare’s play through a jazz lens, with a narrative infused with the rhythm of Ellington’s compositions. The opening line of Shakespeare’s play, “If music be the food of love, play on,” serves as the driving motif, honouring not only the bard’s timeless narrative but also the musical genius of Ellington.
The production strikes an energetic balance between Shakespeare’s complex character dynamics and the infectious vibrancy of 1940s Harlem. The choice of a jazz musical format, where Ellington’s iconic tunes punctuate the plot, transforms the typically stiff characters of Twelfth Night into a much more fluid and contemporary interpretation. The characters’ identities are reshaped by music, as they grapple with love, identity, and the mistakes of their desires. The bold, layered design by Ultz evokes the glamour and intrigue of the Cotton Club, where black artists performed for a largely white audience. This interplay between music, colour, and identity adds a rich layer to the production’s narrative. The acting ensemble, particularly Earl Gregory as Duke and Tsemaye Bob-Egbe as Vyman/Viola, capture the emotional range of the play’s central themes of self-discovery and transformation.
A Good House – Examining Prejudice and Property in South Africa
Shifting from the poetic rhythms of jazz to the sharp realities of contemporary life, A Good House by Amy Jephta explores the intersections of race, class, and property in a South African gated community. Produced in collaboration with the Market Theatre of Johannesburg, the play digs into the dynamics between three couples – one black and two white – who find themselves entangled in a dispute over a shack that has appeared on their neighbourhood’s boundaries. This seemingly mundane issue, however, unearths deep-seated tensions regarding racial and socio-economic divides.
The play’s exploration of racism in property ownership echoes themes in Lorraine Hansberry’s A Raisin in the Sun, where the pursuit of property is intertwined with the pursuit of dignity and autonomy. Jephta’s characters – particularly in the portrayal of the white couples – are rich in complexity, their casual prejudices and assumptions about each other unveiling the true cost of neighbourliness and belonging. While the political narrative is compelling, the play’s emotional stakes are somewhat muted by its somewhat heavy-handed approach. The interactions between the characters, particularly around the concept of what it means to belong in a “good house,” offer an evocative examination of societal divisions. Despite some occasional didacticism, A Good House succeeds in unpacking the uncomfortable nuances of living in a racially and economically stratified world.
Moby Dick – Puppets and Humans Together in the Deep Blue Sea
In a production that defies expectations, Moby Dick by Yngvild Aspeli presents Herman Melville’s classic novel through a fascinating mix of puppetry and live action. The staging at the Barbican, part of the MimeLondon festival, takes us on a thrilling and visual journey to the ocean depths, where the hunt for the legendary whale takes on a life of its own. Through a blend of detailed puppetry, atmospheric visuals, and haunting live music, the production succeeds in evoking the existential terror and philosophical musings of Melville’s work.
The set, bathed in the monochromatic tones of the sea, becomes a space for vast, metaphysical exploration. The puppets – from the tiny boats to the ominous whale – are not just props but characters in their own right, moving with fluidity and purpose across the stage. The crew, represented by both human actors and puppets, seem to share a symbiotic relationship that echoes the interconnectedness of the sea itself. The soundscape, featuring live music by a double bass, percussion, and guitar trio, transports the audience into the very heart of the storm, intensifying the sense of both adventure and doom that permeates Melville’s tale. Aspeli’s Moby Dick does not simply tell a story; it immerses the audience in its world, blurring the line between reality and metaphor.
Innovative Performances Across the Stage
These three productions – Play On!, A Good House, and Moby Dick – represent the best of contemporary theatre’s ability to push boundaries. Whether through the fusion of jazz and Shakespeare, a candid exploration of race and class in South Africa, or a creative reimagining of a literary classic with puppetry, each production offers a unique perspective on the world. What unites them is their power to transport the audience into new realms, whether through vibrant musicality, raw social critique, or visual innovation. These performances reveal the ever-expanding potential of theatre as an art form, capable of reflecting the complexities of our world through the lens of imagination and artistry.
Each production challenges the viewer to reconsider not only the role of theatre but also the broader narratives of identity, society, and humanity. The continued evolution of theatre, as seen in these performances, demonstrates how art can offer not just entertainment but insight into the social and emotional fabric that shapes us all.
Play On! runs at the Lyric Hammersmith until 22 February, A Good House is at the Jerwood Theatre Downstairs at the Royal Court until 8 February, and Moby Dick is part of MimeLondon’s season at the Barbican.
Through these performances, theatre continues to demonstrate its relevance and transformative power, making a profound impact on audiences long after the final curtain falls.
