Alterations by Michael Abbensetts - ★★★★☆
How far would you go to achieve your dream?
This is the question that Guyanese tailor Walker Holt (Arinzé Kene) must ask himself as he straps on his blinkers and charges down the long, focused tunnel of building a successful and respected tailor shop, Walkers.
First staged in 1978 at the New End Theatre in Hampstead, Alterations — written by Michael Abbensetts and now skillfully revived under the direction of Lynette Linton — explores the Guyanese experience of 1970s London through the lens of a bustling tailor shop.
Under Frankie Bradshaw’s masterful design, the Lyttelton stage is transformed into a lively tailor shop, complete with impossibly steep stairs, fabric rolls, sewing machines and an endless stream of Ghana Must Go bags. Walker takes on a colossally large order for trouser alterations from Mr. Nat (Colin Mace), desperate to make enough money to finally buy the shop and secure his dream.
Supporting, or resisting, Walker’s relentless ambition is a brilliant ensemble cast. Buster (Gershwyn Eustache Jnr), his most loyal and long-suffering friend, does his best to keep him grounded. Horace (Karl Collins), the ever-suave and effortlessly funny tailor, is far less willing to be swept up in Walker’s tsunami of ambition. Meanwhile, Darlene (Cherelle Skeete), Walker’s wife in name only, is repeatedly pushed aside until he no longer has a choice but to face her. Then, there’s Courtney (Raphel Famotibe), a British-born lad responsible for ferrying orders across London in his van, caught up in the whirlwind of Walker’s single-minded pursuit of success.
This quintet forms the backbone of the play’s largest-ever staging, with Linton breathing new life into the piece alongside Trish Cooke. Cherelle Skeete is brilliant as Darlene, capturing the frustration of a hurried and overlooked mother who, for once, chooses herself. Kene is a lively and erratic Walker, a man so consumed by his dreams that his relentless pursuit of success slowly erodes both him and his relationships, and Karl Collins is a standout as Horace, stealing every scene he’s in with impeccable timing and charisma.
Through the microcosm of a tailor shop, Alterations delves into the struggles of Guyanese immigrants, questioning whether the move across the pond was truly worth it. Walker’s dream of ownership remains just out of reach, not because of a lack of talent or effort, but because of race. Meanwhile, Darlene faces hardship not only due to her race but also because of her gender, making her fight for autonomy even more challenging.
Some artistic choices work better than others. The ensemble’s presence on stage as ancestors and distant family, appearing as visions of the past, adds depth to the story. However, moments featuring ensemble members in tracksuits (presumably representing the future) feel less effective.
Alterations is a bustling, engaging exploration of the immigrant experience, blending comedy with poignancy. While the story itself is somewhat predictable, (a manic pursuit of success rarely yields good things) it’s brought to life by a stellar cast and creative team, making this revival a compelling watch.
★★★★☆
Alterations is showing at the National Theatre until 05 April.