Barber Shop Chronicles at The Birmingham Repertory Theatre - Stage Review
 |
| Mohammed Mansaray and Okorie Chukwu in Barber Shop Chronicles |
 |
| Emmanuel Ighodara and Demmy Ladipo in Barber Shop Chronicles |
 |
| The Cast of Barber Shop Chronicles |
⭐⭐⭐⭐
Arts Council England funded this production and is a co-commissioning by National Theatre, and FUEL, a theatre company based in a wing of London’s Somerset House who have produced other plays by Inua Ellams (writer). Supported by other agents too, the Barber Shop Chronicles is an anthology of monologues written around a keynote idea. Perfect material for a stage production with a difference.
In various barber shop settings (in African locations and in London) there is a society that exists around every story being told. Furthermore, there are links with greater subjects from different eras. The mood can switch from humorous interchanges, brotherly banter; enthusiasm for music and sport, and shared repartee (somewhat stereotypical) - to commentary which reveals the more serious preoccupations of the men in regard to race and creed, relationships and political opinion. Presented in a narrative with a special kind of colloquialism.
Rather than mention the numerous aspects of this play that makes it so praiseworthy, let’s just say there's nothing really for a critic to lampoon on, and that now and again one comes across a piece of work where there are few cracks that show. This is such a piece. There’s a familiarity about it, in attitude and relevance both in present and modern-day terms. There is much more than just a nod to black history and these references provide depth to characters and heart to the storytelling.
Arts Council England funded this production and is a co-commissioning by National Theatre, and FUEL, a theatre company based in a wing of London’s Somerset House who have produced other plays by Inua Ellams (writer). Supported by other agents too, the Barber Shop Chronicles is an anthology of monologues written around a keynote idea. Perfect material for a stage production with a difference.
In various barber shop settings (in African locations and in London) there is a society that exists around every story being told. Furthermore, there are links with greater subjects from different eras. The mood can switch from humorous interchanges, brotherly banter; enthusiasm for music and sport, and shared repartee (somewhat stereotypical) - to commentary which reveals the more serious preoccupations of the men in regard to race and creed, relationships and political opinion. Presented in a narrative with a special kind of colloquialism.
Rather than mention the numerous aspects of this play that makes it so praiseworthy, let’s just say there's nothing really for a critic to lampoon on, and that now and again one comes across a piece of work where there are few cracks that show. This is such a piece. There’s a familiarity about it, in attitude and relevance both in present and modern-day terms. There is much more than just a nod to black history and these references provide depth to characters and heart to the storytelling.
The play is heavily stylised. With cultural and ethnic pertaining qualities interwoven in the design. The harmonising vocals to accompany the stirring African numbers are a thing of beauty. The dance moves to Reggae, Hip Hop etc., sounds, ups the pacing and adds much needed injection of volume and energy throughout. The technical work is a delight.
However, as the format is repetitive, and because the male ensemble cast have an added-on stage presence prior to its official off (twinned with the fact there's no interval break), this feels 10 minutes or so too long. That said, this production comes highly recommended!
**ENDS**
Review by Theatre Critic, Debra Hall who attended press night of Barber Shop Chronicles at Birmingham Repertory Theatre on Thursday 26 September at 7.00 pm
%20-%20Marc%20Brenner.jpg)
Comments
Post a Comment
POST your comment here: