Given the title there’s a surprising amount of joy in Ryan Calais Cameron’s play. It’s a mosaic of young British black men’s experience, often laugh-out-loud funny and physically exuberant, occasionally poetic, but with a recurring undertow of dread.
It’s performed on an almost-bare, multi-coloured stage by the hugely likeable six-strong cast of the original production at the New Diorama in 2021. Cameron co-directs here with Tristan Fynn-Aiduenu, who helmed that production, and the results are pretty wonderful.
