NOW I SEE
Image credit — Camilla Greenwell
Now I See by Lanre Malaolu
In Lanre Malaolu’s Now I See, we’re plunged into an exploration of grief, trauma, and healing. Much like his 2021 stage production, SAMSKARA, which is also built upon the experiences of Black men, Malaolu demonstrates his prowess not only as a writer but as an exceptional storyteller.
Through a powerful fusion of movement, sound, and text, this play confronts an issue that significantly affects Black communities —sickle cell — using it as a framework to explore family estrangement, mental health, jealousy, and loss, all while holding space for moments of pure joy throughout the performance.
Dayo (Nnabiko Ejimofor) and Keiron (Oliver Alvin-Wilson) are at Adeyeye’s (Tendai Humphrey Sitima) celebration of life. The trio has now become a duo, as Adeyeye’s life ended prematurely due to sickle cell disease. Estranged for some time, the brothers confront unresolved issues, revisit old memories, and release the burden of "what if?" that has haunted them for years.
Adeyeye sets the tone of the play with minimal dialogue, using his movements to convey the emotional weight his death imposes on his brothers. Sitima transitions gracefully through various stages of Adeyeye's life, portraying each phase with elegance. Nnabiko Ejimofor’s portrayal of Dayo is full of heart. As the always-smiling, dictionary-enthusiast, and food-loving middle brother, he navigates a tough position within the family dynamic. His unique physical performance narrates challenges that words cannot express so gracefully. Oliver Alvin-Wilson’s Keiron also delivers an equally powerful and remarkable performance. Leaving home at 21 for reasons unknown at the beginning, we watch hime exhale as he sheds his burdens and releases long-held anger towards his family.
Malaolu's skilful integration of monologues, dialogue, and dance is a visual treat. The seamless transitions from detailed descriptions of heaven to playful dance sequences between Dayo and Keiron keep the narrative vibrant. Dancing to Usher’s ‘Superstar’ and Disney’s ‘Little Mermaid’ offers a welcome relief from the complexity of the strained family dynamic. And, despite their estrangement and grief, the brothers' love for each other is undeniable. Over the course of the play, they realise they were both blinded by their pain and narrow perspectives.
The initial half of the play seems prolonged, almost as if it's anticipating a revelation that only fully emerges in the second half. Here however, the narrative gracefully culminates into a tale of redemption and love. Music and song is meticulously woven into the story. Whether it's the afrobeat classics spun by the questionable DJ at the reception or the smooth tracks of Stormzy and Sampha, Pär Carlsson's contribution is notable and praiseworthy.
However, where the play falls slightly short is in Ingrid Hu’s scenography. It feels somewhat minimal, lacking the simplicity to be truly minimalist yet not fully developed enough to create a complete scene. Nevertheless, the drapped ribbons that decorate the foreground, combined with Ryan Dya’s lighting, delivers a captivating visual experience.
Many elements of this play feel familiar, yet the stunning blend of movement, music, and the visceral display of raw emotion indicate that this could only be the work of Lanre Malaolu. He draws us into his gorgeous and heart-wrenching world of brotherhood, grief, and release, upheld by a flawless cast who leave everything on the stage.
By Eniola Edusi
★★★★☆
Now I See is showing at Stratford East Theatre until 1st June 2024.
