Ryan Calais Cameron’s For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy, is now in its fourth run and second West End transfer with a brand new cast, and it is clear that the original creative team have far from dropped the ball. The strength of six strangers sharing their personal experiences of race with one another is undeniable and the production is still a tour de force.
It demands to be seen
From the impeccably crafted movement to the sharp comedic timing and gut-wrenching vulnerability, the production is so profoundly impactful that one feels lost for words. Indeed, silence is as much a part of the fabric of the play as the dialogue. As dance is integral to the choreopoem genre, it is imperative that when words fail, deep emotion can be conveyed through movement. This is absolutely true of For Black Boys—Theophilus O. Bailey’s choreography is breathtaking. There is so much dance variation in the show: lyrical solos, physical theatre, group work with lifts and balances, krumping, hip-hop (and probably more) all of which evoke a passion that embodies each nuanced subject matter discussed by the characters.
The play has a strong sense of flow which is difficult to achieve with series of monologues. This is aided by the harmonious use of song and dance as well as some incredibly inventive direction from Cameron. Furthermore, the fact that every move is felt and every word has carefully considered thoughts behind it keeps the audience captivated. Nevertheless, we are kept on our toes with sudden joyous bursts of song and dance, contrasting with quieter, profound moments. It is particularly poignant when the actors break into song acapella. Singing is arguably the most vulnerable way of expressing yourself vocally, and it feels as though that with each song, the characters’ bond grows stronger. Their voices are beautiful and John Pfumojena and Nicola T. Chang should be highly commended for their detailed work.
Above all, perhaps, is the strength of Cameron’s writing and his ability to illuminate extremely complex themes in a manner that is accessible, nuanced and poetic. Yes—identity politics is an increasingly popular topic in theatre; however, For Black Boys… supersedes your expectations in every sense. It blows that label out of the water. The discussion of topics such as what the ’n’ word means to Black individuals, the relationship between education and race and what ‘Black’ means to different groups of people are unapologetic, raw and enriching. What amazes me is how Cameron manages to paint such a detailed picture without ever being literal. In this way, his work pulls on your heartstrings, no matter where you come from. This is especially the case in his treatment of suicide as characters heartbreakingly express sentiments that “Black boys aren’t supposed to need love”, that the colour of their skin denies them the right to love themselves, that they no longer want to fight to live anymore. No matter who you are, you cannot help but be deeply moved, and those who are not Black are forced to confront the pain of an experience we will never have. This alone is extremely powerful.
For Black Boys… is a trailblazing play whose fire continues to burn brightly as ever. It is clear that the cast and the creative team have fostered an incredibly supportive, loving and innovative environment. The acting is second to none, and Tobi King Bakare, Shakeel Haakim, Fela Lufadeju, Albert Magashi, Mohammed Mansaray and Posi Morakinyo deserve recognition for their talent. The production both caresses you and grips you, much like how each character is tenderly comforted by another after they’ve spoken their truth. In truth, to write about it is difficult—there is so much to unpack nothing feels like it does the play justice. Thus, it demands to be seen.
