DEATH OF ENGLAND: DELROY
Image credit: Helen Murray
Born and raised in Britain, yet the blood that flows through his veins is not as symbolised on St George's Cross. Delroy's Blackness and Britishness are at odds with each other and over the course of this 100-minute one-man play, Paapa Essiedu pours his heart out, taking us on a journey of what it means to be a Black man in Britain.
Originally performed at the National Theatre in 2020 by Michael Balogun, Death of England: Delroy is the second play in the extraordinary trilogy by Clint Dyer and Roy Williams. For the first time, all three state of the nation plays are performed in repertory, allowing viewers to watch each play as a standalone monologue or duologue, as seen in ‘Death of England: Closing Time,’ or to watch the entire series of 3 plays and experience the interconnectedness of two families, as they navigate the joys, sorrows, and challenges of being British.
As we sit in the well designed, and adapted sohoplace theatre, we await the coming of Delroy. Dressed in a suit, agitation written all over his face; the audience is positioned at each corner of the English flag, representing the anchors of Delroy's life. He boldly shatters the fourth wall, quickly drawing the audience into his story. He narrates his intense emotions through unique storytelling—humour, anger, and deeply rooted pain. Essiedu’s energy is immediately infectious; despite understanding the demons he grapples with, the audience can’t help but laugh at the flair and explosive pace with which he moves.
Though Greenaway-Bailey and ULTZ's stage was very simple, it was highly effective in its design and function. The size posed no challenge to Paapa, who breezed through each corner, sometimes even running off stage to re-enter from the other side. His ability to switch characters, impersonating others seamlessly, was impressive. His impersonation of his mother, symbolised by a Nefertiti figure, brought many laughs. Dyer's direction was tangible, particularly during Delroy’s trial. The transitions and emotions evoked through language, movement, props, and lighting were iconic.
Exploring themes such as race, police brutality and class while touching on other key elements such as family dynamics, the law, language and Windrush; the focus remains on Delroy’s identity as a Black man in Britain. Dyer and Williams have successfully updated the 2020 play to remain culturally relevant in 2024, incorporating contemporary influences without diluting the story's impact.
Throughout the play, there are moments that deeply absorb the audience, with monologues that highlight the state of our nation. However, the play seems to lose some focus towards the end and could have benefitted from less dialogue, though this does not diminish the impact of the words spoken.
Delroy's life is full of conflicts, and by the end of the play, we gain a profound understanding of these struggles. Most importantly, we are brought to a place of empathy. Delroy’s body carries generations of pain, anger, and confusion. By the end, he begins to accept this reality, leaving the audience with a sense of his decision.
Originally conceived as a 10-minute short film a decade ago, "Death of England: Delroy" has found its place in the West End. The play is powerful, electrifying, and showcases Paapa Essiedu's range and poise as an actor while Clint Dyer and Roy Williams underscore the need to question the state of the nation and envision its rebirth.
Death of England: Delroy is showing @sohoplace theatre until 28th September 2024.
By Eniola Edusi
★★★★☆
