Review of ‘Lavender, Hyacinth, Violet, Yew’: “A crisis story in storytelling crisis”

The Bush Theatre hosts the world premiere of this queer-themed play exploring the struggles of the LGBT community through a look into both the past and today. Guillermo Nazara shares his views on the show, to let us know if this new play by a flourishing author turns out to be any green.

I remember how, while having coffee with one of my dearest friends a few years ago, the subject of the AIDS crisis came into the conversation. I was, in fact, the one who brought it up. I had just finished binge-watching the most stirring, touching series about four young men moving to London to find their place in the world – only for that to be suddenly and brutally stolen from them, as many succumbed to a terrible, unstoppable disease no-one in that day could understand; and most didn’t even want to.

It’s A Sin took this country by storm, dragging audiences back into the deluge that the LGBT community (especially gay males) went through before the eyes of an uncaring, heternormative society who had the audacity of blaming such inhumane suffering on its victims. We all had a favourite character (and probably, a favourite actor), and though it’s true that nobody can resist the wholesome charm of that naive Welsh boy, Callum, I must admit that, if someone hits closer to home, that would be that liberated, unfiltered bartender living his life to the fullest during his slutty years (no pun intended).

Omari Douglas captivated us with his portrayal of the flamboyant, free-spirited Roscoe – who ran away from his religious British-Nigerian family in pursuit of a true one. Now, a similar story lands on the stage of the Bush Theatre – only that this time, its last episode is yet to be written.

Lavender, Hyacinth, Violet, Yew brings poetry into queer history, as two separate lifetimes converge through the pages of a journal. On one side, the legacy of someone’s personal journey as a gay black man, whose final destination was reached prematurely when the AIDS pandemic took its last turn. On other other, a non-binary teenager trying to find their identity – and who, by discovering that diary, will actually learn who their parents really are.

Written by Coral Wylie, who also stars in one of the lead roles, the play offers an excellent premise, full of poignancy and possibilities for a transformative jaunt depicting the struggles and victories of the LGBT community. In terms of intentions, there’s nothing that can be criticized about it. But when it comes to its execution, there’s a long way ahead before the show sets itself in the direction it’s aiming for.

Though delivering an adequate framework and structure for its narrative, all the remaining components lack the same level of quality and, ultimately, ability to impact. The characters’ arcs are sketched, but not honed enough to make them palpable to an audience. A similar problem seems to affect the dialogue – there’s some conversational flow all throughout, but not sufficient naturalness and strength to pierce into our emotions. As a result, the script feels slightly hollow – noticeably trying to pull from the heart’s strings, but missing almost every opportunity by not opening its own; and most importantly, by forgetting to build its own voice.

As for the company, Omari Douglas gives the most compelling performance – oozing allure and delicacy in his portrayal. However, the lack of chemistry among the cast members cannot be ignored – making the rendition look a bit too constrained and, wistfully, not very believable. Consequently, we can’t sympathize with the personages’ circumstances too much – as, no matter how much drama we are presented with, we end up feeling distanced and, in some way, uncaring towards it.

Planting the seeds for a blossoming tale, but staying too rooted in a germinal idea without growing enough individuality, Lavender, Hyacinth, Violet, Yew makes an honourable salute to the love and resistance the LGBT community has stood for all through the years. Yet, there’s only as much as those endeavours can do if the piece can bring no further meaning  by itself. Stemming from an enticing array of themes and dramatic opportunities, the play counts on a rich basis that could eventually bloom into something memorable and significant. But as of now, it’s branched out the wrong way.

Lavender, Hyacinth, Violet, Yew plays at London’s Bush Theatre until 22 March. Tickets are available on the following link.

By Guillermo Nazara