WEDDING BAND
Image credit — Marc Senior
Wedding Band: A Love-Hate Story in Black and White by Alice Childress
Six decades after it was written, Alice Childress’ drama on forbidden love finally debuts on a London stage at the Lyric Hammersmith Theatre. Set in sunny South Carolina in 1918, Childress tells a powerful story about the deep divide between black and white people and the harsh realities of segregation, particularly in matters of love.
Julia, played by Deborah Ayorinde, is a Black American woman who falls in love with Herman, portrayed by David Walmsley, in 1908 at his bakery. Their love is not only dangerous but also illegal in a segregated state, forcing the couple to meet in secret, with Julia frequently needing to move for her safety. The play revolves around Julia and Herman's 10th anniversary, with the story unfolding in unexpected ways.
In Julia’s new home, she is surrounded by a group of black women, an unfamiliar experience. Fanny, played by Lachele Carl, owns the plot of land. She helps the community but doesn’t fully identify with them. Lula, portrayed by Divinee Henry, is a modest Christian woman doing all she can to get by and save her son, Nelson, played by Patrick Martins. Mattie, portrayed by Bethan Mary-James, is October's wife and mother to Teeta (Lylianna Eugene) and looks after Princess (Poppy Graham). Though these women keep to themselves, their sisterhood is formidable, and their houses, filled with laughter as each of their personality shines. Whether hosting church services on the front porch, supporting each other financially, or offering unsolicited advice, these women create a safe haven for one another, showcasing the beauty of friendship, sisterhood, and the strength of community.
As the show progresses, Herman's introduction disrupts the tranquillity of this safe haven, putting the women on edge. He is not only an outsider but also a white man, which the women see as trouble. Against the backdrop of Paul Wills' dynamic and incredible set, the couple finds space, whether in a cosy bedroom or against the barbed wire separating the community from the outside world. Their love is a battlefield they have been fighting on for 10 years.
The passion and emotion between Ayorinde and Walmsley is organic, hosting the invisible tension at the heart of their relationship. They are in love, but it is a taboo. For Julia, the past 10 years have been marked by neglected conversations, taking a toll on her mind and soul. Herman, despite being white, believes he isn't part of the problem and fails to see the role he unintentionally plays in the hurt caused to Julia and her community.
Their unspoken shame is mirrored in their interactions, silently dancing around their reality until it is finally voiced, albeit late in the play. In the second half, tensions rise as Herman contracts Influenza and is confined to Julia’s bed. Chaos ensues when Herman's family enters the picture, escalating the conflict and prompting the once timid and shy Julia to boldly stand up for herself.
For a moment, it feels like watching a telenovela, but it never quite reaches that level. Monique Touko’s direction is well-paced, with smooth transitions. Even when multiple conversations happen simultaneously, we are not distracted. The play is as vibrant as it likely was when first staged, if not more so; we enjoy each character and see their fullness in Touko’s production.
Alice Childress masterfully blends themes like racial politics, sexism, classism, and violence into her writing without losing the essence of the play. Sixty years later, it is more challenging to watch because, although realities have changed, the truth of the play strikes a difficult chord in some audience members. It raises the question of why it has taken so long for such an important piece of theatre to hit London stages and makes us wonder how long we will have to wait for another revival of this nature.
By Eniola Edusi
Wedding Band: A Love-Hate Story in Black and White is showing at Lyric Hammersmith Theatre until 29 June
★★★★☆
