What is a white Briton doing writing a
Barbadian family drama? On the one hand, well, of course why shouldn’t
he, but artistic colonialism is a hot topic. If the Bush’s artistic
director Madani Younis wants to make the theatre’s output more
accurately reflect the community in which it is situated, then is it a
constructive step in that direction to stage the pronouncements of a
middle-aged white man about a community thousands of miles away?
Yes, I think it is. In the first place, Robin Soans’ principal work as
a playwright has been in making verbatim work, getting as far as
possible out of the way of his subjects’ words, and I suspect a
similarly detailed research process may have gone into the writing of
the Gillard family here. Secondly, the flavour of their
dysfunctionality is a fairly universal one, within other social
groupings as well as families. The Gillards are a devout clan: father
Eli is not simply churchgoing, but church-founding. Of his three sons,
one has been excommunicated for the heresy of marrying a divorcee and
another for the sin no-one dare name: yes, he’s gay. Between father,
three sons, two daughters-in-law, a visiting bishop and his son, there
seems to be endless potential for self-righteous condemnation of almost
everyone by almost everyone else. This kind of fast-breeding fission is
familiar in Britain amongst, for instance, various sects of Scottish
and my own Northern Irish Presbyterianism. But it is also a common
political phenomenon, whether amongst the new right in the European
Parliament or the domestic left attempting to rebuild itself as a
coherent force. It is seldom a matter of principle, but of being
seen to be right.
Younis’ direction is not subtle, but nor does it need to be. Leo
Wringer’s Eli comes into his own in the second act, set in Leytonstone
four years after the Caribbean first, when his increasing decrepitude
and the kindness of gay son Joshua (Clint Dyer as the Cordelia of the
play) bring him gradually to re-evaluate his inflexibility. Frances
Ashman is the primary viewpoint figure as Ruth, the sincere but
unappreciated wife of single-minded pastor Nathan, and I mean it as a
compliment to Akiya Henry’s acting that her character Joylene, wife of
the schismatic Zechariah, cannot utter a word without her own
advancement being clearly in view. At the end, Maya Angelou’s
exhortation “Be, and be better” echoes around the bereaved family, in
equal parts hollow and hopeful.
Written for the Financial
Times.