FOR BLACK BOYS
Image credit — Johan Persson
For Black Boys (Who Have Considered Suicide When The Hue Gets Too Heavy) by Ryan Calais Cameron
A 12-year labour of love best describes Ryan Calais Camerons’, For Black Boys, originating at the New Diorama in 2021 and drawing inspiration from Ntozake Shange’s ‘For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf’. This impactful production swiftly gained well-deserved recognition, subsequently moving to the Royal Court in 2022. Its influence continued to resonate with a triumphant West End debut at the Apollo Theatre in 2023. Now, with a fresh cast, it embarks on its latest iteration at the Garrick Theatre in March 2024.
For Black Boys is an exploration of Black masculinity, identity, familial relationships, friendship and more, vividly portrayed through the experiences of 6 distinct characters Onyx, Pitch, Jet, Sable, Obsidian and Midnight. While the boys go unnamed during the production, each character is richly developed, embodying unique traits and experiences that resonate deeply with the audience.
Onyx (Tobi Bakare) is the self-declared ‘badman’, having never left the ends and facing the hand of an abusive father, he projects a tough exterior. Obsidian (Mohammed Mansaray) is the most astute of the group, and while jovially referred to as Dr Umar, he prioritises learning about Black history beyond the limitations of mainstream education. Sable (Albert Magashi) is the charming ladies man of the group, while Midnight (Posi Morakinyo) a vital member, provides many of the production's comedic moments. Lastly, Shakeel Haakim takes on a truly impressive stage debut as Pitch. His presence fills the stage, with a warmth, life and sensitivity in many raw moments, as he tries to understand his Blackness, against societal and community standards.
Each of the boys has something to share, and a horseshoe, classroom style setting is their playground. We hear of stop and searches and ‘routine checks’, (flowing cleverly into a Kano and Mitchell brothers interlude), debates about the use of the N-word and the value of university, first loves, heartbreaks and paternal relationships — Ryan Calais Cameron leaves no stone unturned.
His writing is marked by its beauty and mastery, seamlessly navigating between moments of exuberant joy and heart-aching sorrow, each state as vital as the other. Through monologue-style speeches, each character is given a chance to shine (and, oh do they shine) and tell their story. The chemistry among this fresh cast is palpable, present not only in their laughter and jibes, but also in times of vulnerability, with their bond further enhanced visually, by expertly directed movement from Theophilus O. Bailey.
Both song and movement play integral roles in heightening the emotional peaks and valleys of the production, with renditions of songs by Giggs, Beyoncé and Boyz II Men punctuating the narrative — Posi Morakinyo in particular delivers standout vocal performances. The cast handles the carefully crafted movement with a breathtaking fluidity and finesse, they seem glide across the stage, with their bodies expressing their hearts when words are out of reach.
While For Black Boys continues to evolve with each iteration, there are instances where the script lags behind the ever-evolving social dialogue on race and identity, and we’d hope to see more maturity with the set design. Nevertheless, this does not significantly detract from the impact and authenticity of the production.
For Black Boys stands as a beautifully layered and authentic exploration of Black masculinity, offering moments of euphoric joy amidst its poignant reflections. Ryan Calais Cameron must be applauded for his work, for his dedication, and for creating something that truly is, For Black Boys.
By. Shore Delano
★★★★☆
For Black Boys is showing at Garrick Theatre until Saturday 04 May.