Upon arrival we were swiftly directed from the staff at the entrance of the National Theatre to a personal seating area & then to a newly elaborated foyer space (all in a perfectly socially distanced manner). The director of the NT, Rufus Norris, jumped on stage to welcome us and compliment the team for “having to entirely re-learn their jobs”. He informed us that Michael Balogun had taken on the role at very short notice so if he stumbled here and there that was the reason. His passion was so glorious that even when he’d forget a line it had its effect.
I had never been to a play with a standalone act, so I was very curious to see how this would go. In all honesty, it leaped through all my expectations. Delroy had everyone in the audience engaged the entire time and his capacity of switching from one persona to another was absolutely incredible. The props where also banging.
Delroy emerges us into an especially aggravating day as a Black Briton. He is working class, son to a mother from the Windrush generation and has a White-British (pregnant) girlfriend. The entire play revolves around her waters breaking and the birth of his first child. He gets stopped from the police whilst rushing to the hospital and it all goes from there. An intertwining of systemic racism & the joy of becoming a father, hence many flustering emotions. Delroy wasn’t necessarily interested in BLM, Martin Luther King or Black civil rights movements, he is more interested in the “little things” but the sequence of these events bring him to question his life, friends and family.
I personally found it all a bit tragically comical, with constant space for thought and self-reflection but never missing a touch of humour. I 1000% would recommend going to check it out. In no way could I describe the intensity and thought that has been put into this play. So get your masks and hand sanitizers out and go to get your tickets via the National Theatre’s website, its screening till the 28 of November!