Leave Taking is yet another piece to add to a diasporic puzzle, a picture that stems from 1987. Written by a young Winsome Pinnock (who is hailed as the Godmother of Black British playwrights), Leave Taking at the Bush Theatre was my second theatre show viewing in over 14 years.
Such a title is immense though I have never been entitled to offer my two pence until now. I have always felt at a loss not being rocked by the motivation preceding Black British creatives could inspire. The break in the lineage of Black work, the interests curbed by my upbringing and an insidious lack of insight to Blackness shed by our education system. Emotive fires that burned within Winsome when she created Leave Taking is only outmoded by time. The relevance within Leave Taking as a result is sublime, grasping at the concepts of soul sick cries and purely reasoning why – why the dullness of this grand land overrides the passions of home and a sown identity.
Having returned from a 30-year absence from theatres Leave Taking still holds a worrying though comforting relevance. It is worrying due to a lack of recognition, half way into the play I imagined this should be immortalised. It starts with a worried Jamaican family from the estate of Deptford attempting to use the spiritual prowess of an Obeah called Mai (played by Adjoa Andoh). Her peculiar fashion and mystical trinkets cast a familiar sense of wonder that elders respect yet 2ndgeneration question the reality of such procedures. Enid (played by Sarah Niles) is a Mother of two, Del (Seraphina Beh) & Viv (Nicholle Cherrie), visiting Mai for her understanding via palm readings. Mai is eccentric, sharp and displaying a fearsome tenacity for her job which appeared weird to the sunken Del and Viv, who stick to slick British gums. I imagined Enid & Mai’s accents were too thick to understand for many of the audience, but its this unfiltered display which is a necessity that should not be intimidating – but normalised via representation. It also highlighted a break in-between culture, where patterns of behaviour and perception clashed. Enid’s worry for Del’s outwardly self-destructive behaviour causes her to reach out to Mai for spiritual guidance. From the beginning, the clash between the generations causes a constant reflective dialogue that depicts the harshness of a checkered reality diaspora live.
When Brod, a family friend (Will Johnson), enters the scenery is built when he alludes to the totality of this livelihood. He carries a swagger and coolness many Jamaican men are hailed for, though his character depicts many cold and warm notions. He is profoundly vocal, offering a perception on the state of things in this Britain when they travelled here. How Caledonian Road was supposed to be painted in Gold. The work ethic of a selfless Enid immensely hard working from the glorious old days. Jamaican tales and folklore, describing the powers that rest within these children’s Black skin. Such talk invigorated Viv, the book smart daughter who can recite the marvels of Shakespeare. She glows with anticipation of home, having been sold a life long dream of being merely British. Her work did not represent herself, yet her self is even foreign to the territory she would consider home. Brod’s wonder had grown on her, with Enid’s fear amounting to serious doubts for her own being. Del’s behaviour peaks and it leaks through disrespectful actions, as a result she receives a fraction of the anger Enid has stored. The falling out boils this compilation of ideals many within the diaspora can relate to. The contrasts are brilliantly chilling, amounted in such a story it allowed me to perceive my own journey better.
The religiousness of Enid in contrast to her faith in Mai is an interesting dynamic. As if at a loss, the older ways pave way to comfort over simple prayer. The perception of work by generations as well as what it means to have a good life. The understanding and meaning behind the journey, from “home” to the opportune England. Though in summary, soul sickness is the main concept of Leave Taking. How Enid’s purpose is challenged by the altering livelihoods of her children, despite working so hard to maintain a good lifestyle for them. How Brod’s battle with alcoholism belittles his wisdom which masks revealing truths. How Del’s extravagance and longingness for freedom overrides empathy. How Viv’s cultivated mind only shines on English soil, foiling her urge for a stronger sense of identity. Mai is gradually demystified but also catches the disease of self-reflection, growing an affection for this troubled family. Key moments within the play instilled a heartfelt empathy within me. The brilliant display of these characters and insightful story was backed by a lack of representation, or rather understanding. This phenomenon of Black representation, often overshadowed by an African American weight, lays waste to the norms of our own stories. Hence Leave Taking was felt tremendous and rightly timed, for it presents its audience with a perception of 80s worries and infiltrates patterns exacted in recent times.
An aspect I admire born from this dearth of representation is the importance such actors and creators exemplify through their work. A Q&A after the show solidified by adoration for Leave Taking, chaired by the director Madani Younis, as it managed to inject the feelings and views of the actors and Winsome herself. Winsome spoke of her humbleness regarding the response to the project, the fantastic cast offered their understanding of Leave Taking. Will Johnson who played Brod spoke on the workings of his character stemming from his own experiences. He stated it had been a while since he purely acted on a project that was entirely Black, with notes taken from remembering family and their attitudes toward life. He describes his character as pieced together from 3 influential Uncles, the hilarity fused with a woke Afrocentric take on life topped off by the hindrances he demonstrates. Hence acting felt natural opposed to performative, despite his tremendous skills which captivated me. Earnest moments in the play such as Brod unfolding behaviours which caused the state of things offered a tremendous insight to how people perceived things then. The pride in which they left Jamaica for a “better life” to be presented with soul sickness, racism and belittlement at existing. Enid is a commanding character, Sarah Niles portrayed her with fantastic quirks adopted by her recognition of her Black Heroes. She pointed toward Black Panther and the incredible reaction it received, happy though grieved the romanticised idea of us. Sarah stated the every day heroes, such as her character Enid, deserve gratitude for their sacrifices. Her portrayal gave me shades of my Mother, as Enid is a cleaner and my Mother came to this country as one. Sacrificing years to bring up children, diving back into a career and education to provide for her family more. Drawn back to home but tied to a new state, to help pave a way to a greater life.
Seraphina Beh is a wonderful actress, igniting life into Del smoothly without a care in the World. Her comments in the Q&A highlighted how she didn’t even know who Winsome Pinnock was – shamefully but gratefully managed to work on this wonderful tale. Her performance hails the relation Black Britishness shares, diaspora fairly have a similar account. Hence, she announced the importance if such a work, how it is a necessity to show our realities. The fact Leave Taking holds excessive relevance today shows this. Similar stories of wantaway children, who suffer from the demand of their parents who came almost from nothing. Nicholle Cherie who plays Viv also relates, her educational expertise praised but grounded on an identity she doesn’t find to be her own. She also felt right for this character as it spoke volumes for her own path. Another demand most Parents make of their children from the diaspora, educational success or at least the capacity of it. Though it doesn’t allow one to explore life with the freedom someone “native” to Britain has, with ages of generational wealth building comfort and providing space for different ambitions. Del’s growth is built on empathising through other experiences, triggered by time spent with Mai and a sobering Brod. Viv’s growth is more subtle, reasonable and about the changes everyone around her makes – in a sense the youngest is at the brunt of everyone’s behaviours. Nicholle champions this very well, displaying an innocence and eagerness to break the duck. Lastly, Adjoa Andoh’s act as Mai was trancing. A prodigious accent and sweet tonality made me hang on every word. Her role felt a therapist, an interesting idea for mental health within such communities tend to be downplayed. In need of spiritual healing, religiousness as well as divine techniques like Mai’s palm reading offer a solace in madness’ midst.
Leave Taking is a must see play. It displays a Jamaican home and the roles the family play in their bid for soul searching and healing.
With all the hype concerning Natasha Gordon’s recent debut at the Dorfman, it felt especially pertinent to view this rediscovered jewel from award-winning Winsome Pinnock. Pinnock was the first black woman to have a play produced at the National Theatre way back in 1994, and the same play returns for a fifth time with spirited direction from Madani Younis.
Enid (Sarah Niles) is a hard-working mum trapped on a Deptford estate. A believer in black magic yet fervent churchgoer, she’s struggling with her reverence towards England caused by colonialist indoctrination, and muted disdain for her upbringing in poverty-stricken rural Jamaica. Pinnock cleverly uses arresting dialogue to reflect this inherent conflict in immigrant identity, gliding between patois and English and contested pronunciations of words such as ‘obeah’ and ‘water’.
Despite misgivings about her Jamaican roots, mother’s intuition causes Enid to seek obeah protection for her British-born daughters. Del (Seraphina Beh) is a rebel, sneaking off to late-night blues parties and, unlike Enid, refusing to cower to racist employers. Younger sister Viv (Nicholle Cherrie) is articulate with a flighty optimism and ambitions for a degree in ‘black studies’ (which causes Enid to scoff). Niles, as the mother, plays the stoical divorcee with real sincerity and tenderness, though sometimes it feels a bit safe – more gruffness from Enid might have given the daughters more with which to be at loggerheads.
Obeah woman Mai (Adjoa Andoh), with her charms, tinctures and African sculpture, forces the family to face repressed truths. Andoh offers a strong performance as the pain-ridden, stout-drinking mystic, although her wavering Jamaican accent is occasionally a little distracting.
Wil Johnson as Uncle Broderick provides life-injecting physicality and the rest of the cast delight in bouncing off him. A pernickety old boy who likes a drink, Enid’s long-time comrade playfully pokes fun with some cracking lines: ‘With them shoes I can see right through to you crack foot-bottom’. Importantly, Brod’s insightful anecdotes remind us of the serious damage caused when racial abuse is left unchecked and, more optimistically, that there is much to be celebrated in Jamaican/African heritage.
Rosanna Vize’s pared-down set is appropriately themed in black and yellow, evoking memories of 70s sound systems, beige Ford Cortinas and safari suits. Ed Clarke’s playlist, from the militant dub beats of reggae hit ‘Prophecy’ to the delightfully familiar folk song ‘Hill ’n’ Gully’, provides seamless continuity. Ominous water droplets from above were open to interpretation, suggesting rainy days in a London that failed to live up to expectations.
This touching heartfelt piece explores the daily cost of being displaced from your homeland. Migrants and their offspring are often wandering souls, looking for a place to truly belong and feel loved. There’s a real honesty in this play and it doesn’t need bells and whistles to get its powerful message across.
Fabia Turner // @Kwia35
Fabia has worked as a teacher and books editor. She has a keen interest in theatre which includes producing plays at the Brighton Fringe and the Arcola.
Leave Taking, Bush Theatre [Nkechinyere Nwobani-Akanwo @NNwobani]
Winsome Pinnock’s Leave Taking is a timely exploration of a black woman’s soul, it’s secret shames, deep desires and sacrifices for survival. Enid, full and fervently portrayed by Sarah Niles, is a single mother of Del and Viv, both spirited and restless in their own, opposing ways. She arrived from Jamaica as a British citizen from the Empire with dreams of making a better life. A generation later harden by circumstance, she still has those dream, for her daughters.
It flawlessly navigated the nuances of each relationship and the textures of their environment. Exposing things such as the effect of racism on the black men’s mental health, the misinterpretation of the strong woman façade and the uncontrollable nature of your legacy. The narrative was charter through references of music, food, drink and anecdotes and idioms that felt so familiar it could be the auntie on the high street or a next-door neighbour without ever being cliché.
It was expertly directed by Madani Younis (Bush Theatre AD) with the injection of humour, both vocal and physical, timed thoughtfully, never taking away from heavy heartfelt moments and never shying away from being unapologetically Jamaican. Adjoa Andoh gives a scintillating performance as Mai the Obiah woman, a tonic from the outside worlds conventions and demands. There were clever moments when the different heights of the stage were occupied as separate spaces. The meaning of the sporadically flooding stage was lost on me as I couldn’t find a correlation between when it occurred and the emotional journey.
This generous and passionate revival, 30 years after the publishing of the original play highlights the timelessness of story. This was not a piece to simply go and observe but commanded your involvement; the collective encouragement when two actors shared a dance and several moments of audible reaction whether it be gasps, kissing teeth, um hums of agreement or tuts of disapproving. We were captivated from start to finish.
Leave Taking, Bush Theatre [Darrel Blake @darrel__blake]
“What does a doctor know about a Black woman’s soul?” echoed around the theatre as this became the anthem of the show. “Leave Taking”, a Bush Theatre production by Winsome Pinnock returned to the stage since is premier in 1987, bringing back the Caribbean anecdote that has been the story for many Caribbean households since the Windrush era.
Set in the urban streets of Deptford, a small family of 3 embark on a journey of soul searching. Mother “Enid” played by Sarah Niles struggles to find the strength in building a relationship with her eldest daughter “Del”, played by Seraphina Beh. In seeking guidance she visits a local obeah (witch doctor) woman “Mai” played by Adjoa Andoh, to help her find out what is troubling Del. Del is a young woman who comes across as rebellious but not until the show unpacks some home truths, do you start to see beneath the layers of hard skin and realise that a child in anger is a child yearning for love and acceptance. Del’s younger sister “Viv”, played by Nichole Cherrie is the depiction of ‘Doppler effect’ as she is praised, loved and celebrated by Enid. Viv is more of a conformist and does what is asked of her, having more time spent in her books than exploring the estates of Deptford, she sets her sights on going to university... or is that more of her Mother’s dream?
In common African and Caribbean cultures, a close friend of the family always gains the title of “Aunt” or “Uncle”, and in the case of ‘Leave Taking’, an uncle “Brod” played by Wil Johnson added pizzazz to the production. Humour and music was Brod’s DNA but Rum & Whiskey ran in his blood, you could argue and say this was his way of dealing with his British identity in the UK or these were the tools that reminded him of home on which he still misses.
‘Leave Taking’ raises the topics of racism and Black British identity, to which Enid suffers from what W.E.B Dubios once coined as “Double Consciousness”. This is shown in the scene where Del remembers Enid’s work party and believes her mother was a victim of racial discrimination. The British empire conversation is dinner table talk in Caribbean households and tends to based around why are Black people oppressed. Brod shares his thoughts on why Jamaican’s are poor “Because a colonialism. Imperialism. Vampirism. They suck the blood outta the island, suck them dry”. As humorous as the audience found it, we have to take in the account of what the Windrush generation went through being called “British Subjects” by the ‘Mother Country’. Set in 1987, 25 years after Jamaica gained its independence you get a sense that some Jamaican Black Britons still feel disconnected from being welcomed, whereas some despite in the face racism, acquiesce Stockholm syndrome.
‘Leave Taking’ is packed with Jamaican culture, British society and family melodrama. Set in 1980’s south London, representing the hardships of single parenthood and Afro-pessimism. 5 characters engage with the audience for 2hours, appealing to our inner stories of how we have liberated from a place that once had us lost. Winsome Pinnock has done an exceptional job in bringing to light memories and narratives that Jamaican and Caribbean households experience making that ‘better life’ to Great Britain
Darrel Blake
A researcher and ethnographer currently studying Black Studies, activist in empowering young minds and bringing discourse on modernity. // www.darrelblake.co.uk // Instagram - @darrel.blake | Twitter - @darrel__blake
Title of show: Leave Taking
Venue: Bush Theatre
Writer: Winsome Pinnock
Director: Madani Younis (Director) | Omar Elerian (Associate Director)
Design: Rosanna Vize (Designer) | Rajiv Pattani (Lighting Designer) | Ed Clarke (Sound Designer & Original Music Composer)
Technical: Eleanor Der (Company Stage Manager) | Hanne Schulpé (Deputy Stage Manager)
Cast members: Mai (Adjoa Andoh) | Del (Seraphina Beh) | Viv (Nichole Cherrie) | Brod (Wil Jonnson) | Enid (Sarah Niles)
Producer: Michael Ager (Production Manger)
Running time: 2hrs 20mins (inc. Interval)
