The Theatre 503 hosts this new play dealing with racial inequality across the centuries. Guillermo Nazara shares his views on the show, to let us know if this feast of social justice ideas actually bites off more than it can chew.
The past has its way of driving our present, and bringing back memories that weren’t even a part of us in the most unexpected manners. In a time where historical injustice (sometimes taken with not too broad a perspective) has become a leading trend in modern writing, it comes as no surprise that a play dealing with racial discrimination in the 19th century, centered around body snatchers (the resurrectioniss, not the ones carrying giant pea ponds under their arms), has found its niche in the realm of fringe theatre – presenting us with a story taking us through two different realities, later to be bonded by an unconfessable link.
Until the end of the week, The Great Privation keeps its tenancy on the Theatre 503’s stage, delivering a recount of protest and evolution, and introducing us to, as it may be interpreted, the genealogical struggles of a black family in opposite spectrums: today and two centuries ago. Times have changed, but some things still remain – even though they can’t imagine the twists and turns that phrase can actually get.
Parting from an interesting concept, the initial premise, however, fails to unleash its true potential. Though the message of previous situations coming back with another make-up serves as the right cote, the combination of period drama with a comical modern-day account sadly feels ineffective. It contributes very little to the germinal idea of the piece, and doesn’t provide as much when it comes to pacing or narrative relief.
In addition, while the dialogue manages to explore some compelling, profound themes, the flow is off at several points – an issue that may probably stem from too many lines lacking sufficient naturalness and, all in all, sounding a bit too clichéd. On the other hand, the story arc suffers from some underdevelopment, carrying out a slightly inconclusive outline which, apart from a rather predictable ending, doesn’t provide enough of a cycle and progress for any of its personages.
In any case, there are some elements worth of praise in the production – those coming, in particular, from the cast’s quite fulfilling performances. Generally exuding presence and rapport, one of the most memorable appearances is made by Jack Goldbourne, regaling us with a much energetic, and highly likable, portrayal – evenly mixing his comedic abilities with moments of dark, menacing allure. Nonetheless, the greatest mention goes to Sydney Sainté in the lead role of the Mother, constructing an incredibly sympathetic character filled with charm, flair and strength.
A platter of remarkable possibilities still to be cooked and served, The Great Privation sets up the goal for a critical, thought-provoking journey of unlimited potential, but comes with no means to endow both its audience and itself with the necessary tools to reach that destination. It has it within it to concoct an identity that stands out from the crowd. But for that to happen, it needs to come to terms with its heart and soul.
All pictures credit to Alastair Muir.
The Great Privation plays at London’s Theatre 503 until 1 June. Tickets are available on the following link.