The second stage (literally) of our three-part Blitz on the National Theatre was to see Wednesday’s matinee of Blues for an Alabama Sky at the Lyttelton Theatre – Lynette Linton’s acclaimed production of Pearl Cleage’s 1995 play. Set in Harlem in 1930, Angel is a club singer who shares an apartment with her friend Guy, a clothes designer whose dream is to create extravagant outfits for his heroine, Josephine Baker, in Paris. Fired from her job and dumped by her gangster boyfriend, Guy carries her home drunk with the assistance of a handsome passing stranger. Supported by Guy, and their friends Delia (from the adjacent apartment) and Sam, a local doctor, Angel sets about picking up the pieces of her life. But then the passing stranger passes by again, this time deliberately, to see if Angel has recovered, and he doesn’t seem likely to take no for an answer…
Plays are peculiar things. A bunch of words on paper, they come to life when transferred to a stage – especially if the creative team behind the production gets it right. This is one such occasion; a superb production that – dare I say it – elevates the words on the page to a level way further than you might expect. Lynette Linton’s direction, Frankie Bradshaw’s set and especially costumes, Oliver Fenwick’s lighting, Benjamin Kwasi Burrell’s music, and so on, all contribute to presenting us with the most elegant of productions. It shrieks class, although it’s far too elegant to shriek.
There’s also something about the production – and I can’t quite put my finger on why – that lures the audience into complete involvement with it. So when a character makes a really telling statement, or a very dramatic event occurs, there are audible gasps, even cries, from the audience. To create that link between us and what happens on stage is a rare gift.
However, and it’s quite a big however, I must confess that I didn’t really like the play itself that much. It feels long – I’m sure it could have shaved at least twenty minutes off without losing any of its content. It was, occasionally, a little bit boring. There are a couple of major plot events that are telegraphed a mile off. I don’t believe it’s in Delia’s character to do what she does at the end of the play (no spoilers). And the suggestion in the final scene that Angel is about to embark on some kind of Groundhog Day re-enactment of what has gone before means that nothing has changed, which is a miserable conclusion, no matter how stylishly it’s conveyed. The direction also triggered one of my pet hates, when imaginary walls that divide rooms or buildings are unnecessarily breached by an actor walking through them. No!! What are you doing!! You’ve just picked that chair up and moved it through a brick wall!
Having said that, the play is genuinely fascinating with the development of a character who is absolutely committed to the cause of a woman’s accessibility to both contraception and abortion rights, particularly as it is progressed through promoting it through the church. It also nicely examines the bigotry of the Christian right through the character of Leland, slow to recognise homosexuality in his surroundings simply because he cannot believe it exists in any environment where he might find himself.
The performances are fantastic throughout and fully justify your decision to buy a ticket! Samira Wiley, in her UK stage debut, is incredible as Angel. She is the kind of performer you simply cannot take your eyes off. No movement, no gesture is wasted; she inhabits the role so fully that you are completely convinced she is Angel. Her singing voice is superb, her emotions get you in the guts, and she’s a dab hand at the comic timing and business too. A remarkable performance. Giles Terera impresses as Guy, with an entertaining range of camp mannerisms and vocal tics that delightfully bring out the humour of the character, but also complement his kindness and his realistic ability to the cut the crap and get to the truth. Ronkẹ Adékoluẹjo is brilliant as Delia, combining her earnestness with her innocence; she brings the whole audience with her on her gentle journey of love with the supportive Sam, another excellent performance from Sule Rimi. And Osy Ikhile is great as the handsome stranger Leland, the epitome of dignity and romance until the brutality of life stretches his patience too far.
The superb atmosphere that the production creates never lets up throughout the whole play, even if the play itself does occasionally leave something to be desired. But there’s a delicate mix of comedy and tragedy, fascinating character development, and an incredible connection with the audience which means the good definitely outweighs the not so good.