For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy review

A line at the beginning of For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy says: "Let a Black boy dance, and let him take up as much space as he needs." It’s a declaration to set out the intention of the play. But when the production premiered at London’s New Diorama Theatre in 2021, it felt as if this command had been overlooked. The performance felt claustrophobic and the piece overshadowed by the effect of this lack of space.

Six months later and the boys have returned to a different – bigger – venue. Though it boasts the same text, the same cast and most of the same core creative team, the piece is unrecognisable. Everything lands better in the Royal Court’s main-stage space. Anna Reid’s set design of a multicoloured backdrop behind seven yellow chairs is elevated, literally and metaphorically, so that when each boy stands to give his testimony, you see him, all of him, as he deserves to be seen.

A million true stories merge into one in this remount of Ryan Calais Cameron’s play, which takes place during a group therapy session. The boys talk of destructive fathers who make collateral damage of their sons, and why the N-word is a vile way to address a Black person whether it is spelled with an ‘a’ or an ‘er’. But there is also deep joy to behold: in falling in love, in the delight of reading a new book, in getting smashed off your face on K cider at a house party.

The cast is made up of a mix of early-career actors and those making their debuts, but the talent on display belies that fact. Every single performance is a standout. The group’s chemistry together is electric, brought together with panache by phenomenal movement direction from Theophilus O Bailey – Godson. As individuals, their presence and dramatic range are awe-inspiring. Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh, and Kaine Lawrence are all stars in the making.

The direction of the piece overall could be tighter. Moments that need space to breathe are snatched away, while other moments drag on long after they have made their point. The second act doesn’t have the same momentum as the first and feels overly long for no reason. Also, the piece does not do enough within the text to acknowledge the seminal work of Ntozake Shange as an inspiration.

But the other thing about this production that has not changed is its intention. That affirmation is no less necessary than it was last year: Black boys, you are beautiful, you are valuable – and you matter. How wonderful that more people get to receive this message.