Adapted by Roy Williams from Sam Selvon’s novel
Director: Ebenezer Bamgboye
Roy Williams’ poignant and thought-provoking adaptation of Sam Selvon’s brutal novel The Lonely Londoners depicts, stunningly, an unflinching snapshot of life for Caribbean immigrants in 1950s Britain.
Williams’ script, revived at the Kiln Theatre following a successful debut at the Jermyn Street Theatre, captures the lyrical beauty of Selvon’s source material in a way that remains largely representational of the work. There are some sensible changes, spotlighting just four of the male characters rather than the myriad of men Selvon’s novel includes, although Williams does draw from these unused characters to create his versions of Moses, Big City, Lewis and Galahad.
Williams, like Selvon, focuses his lens on Moses and the interactions he has with various struggling men looking for opportunity. However, this production does not fully throw its weight into the brutal cruelty these men face, focusing instead on the devastating emotional and social toll this prejudice takes. This is coupled with Ebenezer Bamgboye’s inventive direction that throws new life into this story, focusing on the pressures felt by Caribbean immigrants when arriving in Britain. While the production focuses mostly on the pressures upon men to succeed, this balances with some success the reinvention some Caribbean women went through during this time too.
The production is delivered by an impressive cast, spearheaded by Solomon Israel as Moses. Moses’ role, both in the book and in the play, is one of guidance for the other men who arrive in London. Moses’ calm and wise demeanour deflects his inner turmoil, and this careful balance is worn well by Israel. London is a dangerous place for men like Moses, yet it is the bonds between the men that thrive through, and thanks to, Moses that encapsulate the spirit of friendship and survival that dominate this piece.
Alongside Moses are Big City (Gilbert Kyem Jnr) and Lewis (Tobi Bakare), who are both at different stages of their settling into London life and the squalid conditions, unemployment and racist social attitudes that they face. Both, in their way, have been eroded down by an unforgiving city, and its people’s cruelty, and the pair capture their respective characters wrestling with their demons with aplomb.
The four male leads are completed by Romario Simpson, whose Henry ‘Galahad’ Oliver arrives in the city ready for riches. For Galahad, it is a cruel awakening as London’s cold reality hits, and Simpson delivers this brilliantly especially during his first few steps in this city, initially full of hope and happiness curtailed by painful prejudices.
It is not just the men that have to adapt too. Lewis’ headstrong wife Agnes (Shannon Hayes) and his feisty mother Tanty (Carol Moses) thrive where their male counterparts do not. This contrast draws well from the source material, highlighting some of the new senses of freedom Caribbean women enjoyed when arriving in the UK.
Where this production truly succeeds is in its exquisite choreography. Bamgboye and Movement Director Nevena Stojkov combine to thread together beautifully sequenced physical theatre-based scenes, directing the talented cast through poignant moments that capture concepts such as masculinity, mental health and painful memories in a way that words cannot. Two sequences, which focus on raising a child, and then the importance of male friendship, are sublime. In an otherwise loud and expressive production these touching scenes, full of poise and grace, are both moving and mesmerising.
Aimée Powell’s performance as Christina, the mother of Moses’ child and the focus of memories which haunt him, also impresses. The majority of Powell’s delivery is accomplished through song and dance, capturing Christina’s haunting impact but also the source material’s lyrical quality. Powell combines well with Israel in an emotive choreographed sequence that chronicles their short love affair.
The production is supported by a simple, yet effective, set design. Designed by Laura Ann Price, the set relies on seven blue boxes, a few small yet symbolic props, and a backdrop of over 800 lights. Its boxes represent the minimal possessions the men have, but also serve as stools for the actors to sit on even while ‘off-stage’, a neat touch that reminds us of how we are peering into their lives, while the bright and booming lights create London’s overwhelming chaos, a world away from the Caribbean serenity the characters long for.
As the four men drift together and apart on various occasions, Williams’ adaptation reminds us of the real spirit of Selvon’s novel. Amid the brutal racism, abject poverty and mis-sold dreams, it is the strength of bonds, and male friendship, that sees the quartet navigate life. The Lonely Londoners is a brave and moving adaptation of a unique and immersive novel and one that triumphantly delivers with every word.
Runs until 22 February 2025