FOR BLACK BOYS WHO HAVE CONSIDERED SUICIDE WHEN THE HUE GETS TOO HEAVY - REVIEW

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy premiered at the New Diorama Theatre in 2021 and was a sell-out success. Ryan Calais Cameron’s play then transferred to the Royal Court last year for another sell-out limited run, and now the show has finally made it to a West End stage, running for 6 weeks at the Apollo Theatre.

Inspired by Ntozake Shange’s For Coloured Girls who have considered suicide/when the rainbow is enuf, the play follows six black men as they meet in a group therapy session, incorporating poignant discussions, music, movement, and storytelling. This is an urgent and vital piece of theatre.

The set is simple, allowing all attention to be focused on the performances throughout. Rory Beaton’s vibrant neon lighting floods the stage, with spotlights to create some truly beautiful, warmly lit, and tender moments.

The character work amongst the cast is exceptional, with each playing, what feels like, a real person you could find anywhere within the city. Some speak with London accents, slang is incorporated into the script, and everything is well thought out, from facial expressions to mannerisms, allowing the cast to portray real men, reminiscent and symbolic of those you know and hold dear, which therefore boosts the emotional impacts of the piece. The costumes, designed by Anna Reid are pedestrian but this aids the authenticity of the characters.

This is truly an ensemble show, and instead of a standout star, each performer creates a realistic character, adding something different into the mix, whilst helping to elevate each other’s performances. Never before have I seen a cast work together with such fluidity, in perfect harmony from start to finish.

Music punctuates the performance, allowing for some more light-hearted moments, a standout moment is the cast’s acapella performance of Blackstreet’s ‘No Diggity – which adds a poignancy to the song that I’ve never heard before.

Calais Cameron’s direction is tight and slick, allowing the play to progress with momentum. He also create the perfect balance, as although the production tackles some important yet heavy themes within the monologues, the music, movement, and witty lines work to ensure the play doesn’t feel too intense. Calais Cameron’s script is lyrical, akin to poetry at times, and the monologues delivered are raw, emotive, honest, and poignant. Theophilus O. Bailey’s choreography is stunning throughout, elevating the performances, beginning with slow movements performed by Nnabiko Ejimofor which are mesmerising to watch, the movement becomes increasingly manic as the show progresses and we hear the character’s experiences.

This production will bring a new audience into the auditorium – people who may not have been to the theatre in years, or maybe not at all. It allows them to see themselves, their brother, their dad or their friend portrayed on stage. Whilst I cannot comment on the experience of black people and whether this play is an accurate representation of the reality of being black in the UK, I could hear how much this show resonated with people, from the nods and sounds of affirmation made within the audience throughout the show – highlighting just how necessary this play is.

Many themes are interwoven within the play including mental health, masculinity, queerness, race, stereotypes, and much more. Theatre should be reflective of our current society and this play does exactly that, putting these contemporary issues and perspectives on a main stage for all to see, in a way you cannot ignore.

For Black Boys.. is topical, relevant, and fresh, a truly unique play which makes for essential viewing. I have no notes, this production is perfect.

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy plays the Apollo Theatre for a strictly limited season until 7 May.

{🎟 AD: PR Invite – Tickets gifted in exchange for an honest review}

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