Theatre review: The Lonely Londoners

Roy Williams' The Lonely Londoners is the first stage adaptation of Sam Selvon's classic novel of the Windrush generation, and he makes a concise, intense evening out of its sweeping journey through the lives of six people who've arrived in London from Trinidad in the 1950s. At the centre of the group is Moses (Gamba Cole,) one of a trio of early arrivals who've developed a healthy cynicism after years of struggling to find and keep work, and experiencing casual and not-so-casual racism in a mother country they'd been told was desperately in need of their help. To his irritation, Moses has found himself in the position of fixer for the community, someone newcomers have heard about and go to for help. He tries to prepare wide-eyed newcomers for the reality of life as a black Londoner, and they don't come much more wide-eyed and optimistic than Galahad (Romario Simpson.)

So in many ways this is the story of the shine being taken out of Galahad’s eyes – it’s not an easy task as he’s a force of nature, arriving with virtually no belongings as he assumed he’d quickly build them up in London (and getting bollocked by Moses for it as he could have stocked everyone up with his allowance of cheap booze and cigarettes) but everything from microagressions to eventually being attacked when he’s seen in public with his white girlfriend lead him to start hating the colour of his own skin.

So it’s unquestionably a harsh story that only gets harsher, but Williams is a writer whose work always comes with a strong sense of heart and faith in humanity, so for all the setbacks – from the cold and unfamiliar place, to being so hungry they kill and cook pigeons from the park, or getting caught up in an ill thought-out plan to rob a post office – this is a story that maintains some of that same optimism to the end, particularly with regard to the novel’s very telling title: These men firmly think of themselves as Londoners, and are part of the changing face of it despite anyone who might want to tell them otherwise. Even Big City (Gilbert Kyem Jnr) who, in a sustained running gag, is at best only able to remember very approximate names of parts of the city (“Nottingham Fence.” “It’s Notting Hill Gate.”)

Selvon’s story is certainly more the story of black men than women – with some justification as it’s true that in many cases the men came to London to set up their lives first before bringing their families over. But if the women in Williams’ version have smaller roles they’re often the most memorable ones: When Lewis (Tobi Bakare) brings his wife Agnes (Shannon Hayes) over after several years, he’s annoyed to find she’s also brought his mother along. Carol Moses’ no-nonsense, spotlight-hogging Tanty is an entertaining force of nature, but it’s Agnes who may eventually come across as the strongest character in the whole play.

There’s a seventh character who never becomes a Londoner: Moses’ then-pregnant girlfriend Christina (Aimee Powell) was furious when he announced he was leaving Trinidad, and died in a storm before they could reconcile. She haunts Moses’ thoughts and, despite being superficially the most settled in London, he’s the one who talks most about returning to the Caribbean, and writes letters he never sends to the son he never met. Powell also provides live vocals for some of the anachronistic music - perhaps referencing the cultural influence this migration had over the following decades - that runs through Ebenezer Bamgboye’s production.

This is a very intimate space for a writer who’s recently had plays staged in the Olivier, but Bamgboye makes a good case for this intimacy with a tight, dark, minimalist set from Laura Ann Price and intense, stadium-like lighting from Elliot Griggs – the contrasts in lighting managing to make both the dark and the light oppressive. But for all that its parts can be bleak, the sum is hopeful – just as hunting pigeons goes from desperate act of hunger to bonding ritual between friends. Selvon’s story is a celebration of resilience, Williams’ version is also a love letter.

The Lonely Londoners by Roy Williams, based on the novel by Sam Selvon, is booking until the 6th of April at Jermyn Street Theatre.

Running time: 1 hour 50 minutes straight through.

Photo credit: Marc Brenner.