Writer: Robert Bailey
Director: Billy Siegenfeld
In its international debut, London’s White Bear Theatre presents In Some Dark Valley: The Testimony of Reverend Brand, a tale of religious fervour, resilience, and a stark portrait of a small community in the post-Civil war south. Despite some vividly compelling storytelling, the imbalance of elements and a few poor choices let this production down.
As the title suggests, this is Reverend Brand’s story, told by sole performer and writer Robert Bailey, and laden with narrative, multi-rolling, and songs and prayers from the American south. His testimony is his life story, which begins in childhood in the shadowy mountains of Appalachia, with his money-grabbing, neglectful mother, and continuous into his discoveries of God in surrounding woodlands and mountains. Despite dreams of going out into the world to spread the word of God, Brand remains in that dark valley with his wife Abigail, building his growing congregation. Brand gives his flock comfort through post-Civil War poverty and endlessly resurging outbreaks of disease, but can’t seem to find space to help himself and his wife grieve for their son.
The production sets out a coherent narrative, and the bones of the story are strong. The descriptions of the destitute community, the portrayal of the intricacies of race and religion, and the impassioned preaching are well delivered and purposefully crafted. The stage is sparse, and Bailey does well to fill it, engaging both sides of the White Bear’s black box. Philip Saguil’s sound design and the delicate use of lighting punctuate the narrative nicely, adding to the vivid descriptions.
But the fever and emotion of Reverend Brand’s impassioned storytelling never quite reach a peak. Part of the problem lies in intermittent songs. The songs themselves paint the context well, but there are so many, and they are so randomly placed it only serves to undercut any tension built by the storytelling. A few well-chosen songs placed at purposeful intervals – for example to accompany the most emotion-laden moments – could have been far more powerful. Instead, these intervals simply allow the audience to briefly tune out.
Reverend Brand’s preaching is where the production shines most. The feverish religious fervour that Bailey embodies is engaging to watch and provides a gripping insight into a distinct community at a distinct moment in history. Reverend Brand standing at the river’s edge, decrying the public officials, who had asked him to keep Black people out of the church he had just built, and inspiring his community to walk into the wilderness is a truly engaging moment of theatre.
However, this fervour isn’t sustained well enough, and this is also partly due do with the multi-rolling Bailey undertakes. This is Brand’s first-person narrative, so intermittent impersonations – of Brand’s wife, for example – become slightly ridiculous and a little confusing. As with the songs, they break the tension and allow the audience’s minds to wander.
Runs until 4 April 2026
