Review: The Only White, Chelsea Theatre

Review: The Only White, Chelsea Theatre

Johannesburg, 1964, in apartheid South Africa. After a warning from the African Resistance Movement to the authorities is ignored, a bomb goes off within the metropolis’s railway station, killing one and injuring 23 others. John Harris is alleged to have positioned the bomb there, and is arrested.

The Only White is the true story of what occurs after Harris’s arrest, informed by way of the lounge of a home occupied by the Hain household – mates and someday political allies of John (Edward Sage-Green) and his spouse, Ann (Avena Mansergh-Wallace).

Throughout the play, we see husband and spouse Walter (Robert Blackwood) and Ad Hain (Emma Wilkinson Wright) with their son Peter (Gil Sidaway), conversing in that front room, sometimes joined by Ann. In the background of Malena Arcucci’s set, we see John in his ‘cell’ – a wood field with open sides during which he stays trapped all through the play, even throughout the interval. It is to be hoped that he has an efficient chiropractor prepared for the tip of the run!

The story itself is enthralling, although it’s a disgrace that the blurb for the play provides away the ending. As it’s, a lot of the dramatic stress stems from artificially created questions: Did John commit the act he’s accused of? Will he be discovered responsible? What will occur to him if he’s discovered responsible? Alas, it seems that the characters ought to know the solutions to those questions from the beginning of the play, it’s simply that they solely occur to recollect essential info or clues in a while, which renders the developments unsatisfactory.

Early on, a few of the dialogue grates. The playwright, Gail Louw, can’t depend on viewers members having an in depth information of Sixties South Africa, and far info is relayed by way of household conversations. This works to a sure extent, with the earnest and keen to assist Peter consistently asking questions of Wal, nevertheless it generally seems like a lecture disguised as a play.

Thankfully, after that preliminary exposition, the chemistry between the performers, and the heartfelt relationship between the Hain and Morris households come to the fore. Despite some political variations, the Hains stand by the Morrises all through their tribulations, providing Ann a spot to remain and guaranteeing hidden messages are in a position to make their option to John’s cell.

Mansergh-Wallace as Ann and Sidaway as Peter – who later grew to become a Labour MP and Lord – are the standout performers. The latter nails the mannerisms and tone of voice of an engaged but naïve 14-year-old. At the start of the play, he’s consistently looking for reassurance from his father that the worst gained’t occur, however he transforms earlier than our eyes right into a decided and fearless political campaigner.

All the characters are admirable; nearly too admirable, in order that they usually appear to be devoid of human fallibility, making it peculiarly troublesome to sympathise with these undoubtedly good individuals. A uncommon lighter second involving a cricket ball within the second half is over too quickly and comes too late within the play to have a lot significant influence. More of those moments may have turned it into a strong household drama.

In the tip, the play feels prefer it falls between two stools. It doesn’t profit from the household drama, and, whereas it may have been an necessary meditation on how to withstand, there isn’t sufficient to grip onto. Interesting discussions on the place of violent protest and on the character of selfishness come to nothing. However, it stays an enchanting historic drama, bringing an necessary and comparatively unknown story to a wider viewers. One for the historical past aficionados.

Written by: Gail Louw
Directed by: Anthony Shrubsall
Produced by: Becca Rowson

The Only White performs at chelsea Theatre till 22 April. Further info and bookings might be discovered right here.