SUCCESS COMES AT A COST, BUT WHAT PRICE ARE YOU WILLING TO PAY?

By Henry Roberts | Henry Roberts Creative · @henry_roberts_photography ⭐⭐⭐⭐ | Press Invite

The National Theatre’s new production Alterations draws on their Black Plays Archive and brings to life the work of one of Britain’s best twentieth century writers. Born in Guyana, Michael Abbensetts moved to England in the 1960s, determined to become a writer against the wishes of his father. His most famous play, Sweet Talk, premiered at the Royal Court in 1973. He was the first Black British writer commissioned to write a TV series, Empire Road, which aired on the BBC in 1978. Black Christmas, a TV play from 1977, fearlessly examined mental health in black communities. Throughout his body of work, Abbensetts explored what it meant to be black in Britain, part of an aspirational generation in an often-hostile country.

These themes are explored in Alterations, his play from 1978, a new production of which (directed by Lynette Linton) is currently playing at the National Theatre. Walker Holt (Arinzé Kene) is a tailor, working on alterations whilst dreaming of opening his own suit shop on Carnaby Street. Set over 24 hours, Alterations shows Walker and his team trying to finish a huge sewing order on time. “It’s a freaking trouser epidemic!” Buster, Walker’s assistant played by Gershwyn Eustache, cries when he sees the mountains of pants.

At its heart, Alterations explores what it means to be a man and what we should focus on in the pursuit of a successful life. It’s also about the aspirations of Guyanese immigrants in the UK, and the cost to our emotional wellbeing when we continually strive for what we do not have.

Music plays a big part in Alterations. Buster and Walker are constantly debating about the merits of their tape collection. Music is easier to talk about than feelings. We learn about their personal lives through the telephone: Buster’s wife is in labour, and he anxiously rings the hospital to find out whether the baby has been born yet. Walker’s white girlfriend (he is married) keeps on calling the shop; he tells her he’ll speak to her later.

Darlene, Walker’s wife, is the only significant female character in Alterations. Movingly portrayed by Cherrelle Skeete, Darlene highlights how women’s desires are so often side-lined by male ambition. Karl Collins is excellent as Horace, the flashy wanna-be who sets in motion many of the play’s most dramatic moments.

The set is a rainbow of muted seventies colours. You can smell the hot ironed linens. Revolving stages can be tiresome now, but here the stage spins to glorious effect, moving at various speeds throughout the production, each conveying its own mood. Moreover, lights, sounds and props from above and to the sides of the playing space come in and out at various points, representing Walker’s dreams during introspective moments. These are quite moving, if sometimes done too quickly for the full effect to sink in.

There were a couple of stifled moments in the first half hour, and several monologues are quite heavy-handed. But this play soon takes a hold of you. It could use a few adjustments, but overall Alterations is tailored to perfection.

Alterations is running at Lyttelton Theatre until Saturday 5 April.

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Photo Credit: Marc Brenner