Writer: Malorie Blackman adapted by Winsome Pinnock
Director: Tristan Fynn-Aiduenu
When written towards the end of the last century Malorie Blackman’s source novel Pig Heart Boy was speculative fiction as the transplant of animal organs into a human had not, at that time, taken place. Winsome Pinnock’s adaptation is more a cautionary tale on the corrosive impact of fame. In case the point is missed the stage set which greets the audience has a series of medical monitors which double as television sets.
Unlike the protagonists of most school-day stories wise-cracking Cameron (Immanuel Yeboah) is not bullied at school. Indeed, conscious a viral infection in early childhood left Cameron with a serious heart condition; his schoolmates are, if anything, over-protective. This is, however, not to Cameron’s satisfaction as he is weary of always being relegated to the role of referee rather than participant.
The marriage of Cameron’s parents has come under strain following the decision of his father to volunteer to participate in an experimental process whereby a pig’s heart will be transplanted into Cameron. Desperate to live a ‘normal’ life Cameron agrees to take part only to find the unexpected notoriety, and the associated media interest, leads to unwanted disruption but is surprisingly seductive. The previously likeable Cameron finds himself acting as a more assertive even aggressive personality – Pig Heart Boy.
Director Tristan Fynn-Aiduenu acknowledges both the period when the source novel was written-stonewashed jeans make an appearance – and the present day. Cameron’s new sibling is referred to by the gender-neutral pronoun ‘them’. Cameron’s school friends expressing fear of infection upon his return from treatment brings to mind the conflicted attitudes shown during the Covid pandemic. There are cheeky tributes to movies- a slow-motion Matrix scene complete with cascading green data typeface and a Carrie-style bucket of pig’s blood.
As the show is aimed at a young audience the thorny issue of animal rights is acknowledged in a gentle manner. Cameron enjoys spinning tall tales so his meeting with Trudy, the pig whose heart is to be donated, is staged as a fantasy. Chia Phoenix’s Trudy is a larger-than-life camp comedic figure, entering through the audience in grand disco-queen manner with pink puffer jacket and oversized glasses.
The interaction between the pupils is realistically boisterous which underlines the isolation experienced by Cameron, always left at the side-lines as a reluctant observer. In a clever touch Cameron still does not fit in upon his return from treatment when he is outcast as a celebrity rather than frail. The story is told from the viewpoint of a child rather than an adult. Surgeon Dr Bryce (Tré Medley) enters in the manner of a James Bond villain, tightly dressed in sharp white clothes.
Paul Wills’s stage set is a great aid to storytelling. A glowing, pulsing collection of neon tubes switches from red to cool blue to suggest veins or the swimming pool regarded by Cameron as the testing ground in which he can demonstrate his new pig heart is a success.
A very strong cast take on a range of roles and are led by Immanuel Yeboah as Cameron. Yeboah’s drawling, laid back delivery captures Cameron’s defensive habit of cracking jokes (‘’This is what you call a pregnant pause’’ he remarks when his mother announces she is expecting) which grows into a crueller sardonic tone as he develops the Pig Heart Boy persona.
One was tempted to remark, despite the exuberance of the production; the young audience at The Lowry was subdued. However a conversation during the interval clarified this appearance was due to several youngsters being moved to tears.
Runs 26th to 29th March 2025
