‘Black History Month Showcase’ review
“Spaces like these are vital: they give students the priceless chance to share their stories, celebrate the breadth of Black history and culture, and be seen and heard in their full diversity.”
Black history is not a single story, and this year’s Black History Month showcase, facilitated by Roots and the African Caribbean Society, made that point with confidence and flair. From powerful vocals to compelling acting, and a captivating musical performance by Durham University Gospel choir, every act offers a fresh and heartfelt take on the many cultures and histories of the diaspora, creating a celebratory yet reflective evening honouring the many versions of Black history.
Upon entering the Assembly Rooms theatre, the staging is admirably simple. An empty stage, washed at the back with a gobo pattern in purple and pink, creates this warm, textured backdrop, becoming a canvas on which each act makes its mark. With the same bare space and glowing backdrop for every act, it is the performers’ differing styles, voices and perspectives that gives each piece its identity. Such a reflection of strong production management should be credited to Production Manager Hamish Campbell, as should the smooth transitions from one act to another, with every technical detail serving the performers.
Co-hosts Lilo Jason and Patrick Sam set the tone beautifully; their warm smiles and easy charm create a sense of shared celebration from the outset of the showcase. This is brilliantly sustained throughout; their infectious warmth and enthusiasm serve as a structural touchstone for the audience.
Following Jason and Sam’s initial introduction, the wonderful Jeremy Aikins opens the performances with a rendition of ‘A Chance Is Going to Come’ with remarkable control and feeling. With every riff precise, every expression telling, and the emotion behind the performance absolutely unmistakable, the audience are left impeccably captivated. As if that were not enough, Aikins returns with a second number ‘That’s Life’, and just when it seemed he could not impress the audience further, he takes it to the next level. Yet he is not alone in doing so. Lara Sowande’s stunningly powerful voice with ‘Ain’t No Way’ is nothing short of astonishing. Her command of the stage is total; her vocal control is exceptional and her riffs are executed with real flair. Such is equally true of Imani Randall’s enthralling rendition of ‘Feeling Good’; each note is sang with soul and magnetic confidence, making it a true joy to witness.
With Dan Katsande and Mwambu Haimbe’s performance of an extract from Othello, the stage remained in excellent hands. Haimbe’s Iago is a study in cunning, every look and intonation calculated, while Katsande’s Othello is commandeering, his powerful projection and complete conviction gripping the audience’s attention. Yet, it is these actors’ versatility which is incredibly striking. Later, Katsande‘s ‘Friends on the Other Side’ reveals a voice of extraordinary power, potently filling the room. Similarly, Haimbe’s performance of his original poem ‘Jesus is a Black Man’ sits among the most impactful moments of the evening. The writing is sharp and thoughtful, his delivery communicating such raw and real emotion.
Fortunately, Haimbe is not the only writer among us, Ashley Nyakairu and Breannah Holton likewise delight us with remarkable original poems. It is hard to believe Nyakairu’s ‘Thank you God’ was her own work. The writing has the depth and finish of an established poem, and she performs it with great poise. Holton’s two original poems, ‘Second Class’ and ‘Black, Loud, Promiscuous and Pissed’ are also simply wonderful; her messages of what it means to be a young Black woman are delivered with honesty, courage and striking clarity.
This courageous clarity is, in like manner, showcased by Gloria Sebastiao in her performance of ‘The Caged Bird’, utilising fierce eye contact which undeniably compels the audience. Similarly, Ede Kuczma ‘s performance of ‘I Wear the Mask’ is deeply impactful; her connection with the audience that she achieves throughout with her careful use of facial expressions is remarkable. Equally impressive is Ayoola Bamgboye’s extract from ‘For Black Boys…’ His characterisation is beyond excellent. Every gesture and intonation felt purposeful, and his commitment to the role made the empty stage feel fully alive.
The evening closes with the university’s gospel choir, whose vocals are rich, full and beautifully blended. Their harmonies fill the room, and the joy in their singing pervades throughout the theatre, bringing the showcase to a triumphant close.
A huge congratulations must be given to Director Maryama Adow, and to Roots Theatre Company and the African Caribbean Society, for bringing together such a rich and varied evening. Spaces like these are vital: they give students the priceless chance to share their stories, celebrate the breadth of Black history and culture, and be seen and heard in their full diversity.
It was a privilege to be in the audience, and I hope, nay, believe it is necessary, for this to be the first showcase of many.
By Beatriz Camarotte.