G Review: Gothic Dread Meets Goofy Comedy in Thrilling Coming-of-Age Tale

A hand curls up from a grave-like hole in the ground; an undead figure rises to gothic showers of light, ominous sound, and dry ice. It’s a fitting introduction to Tife Kusoro’s play, which cleverly utilizes classic horror elements to craft an intelligent urban gothic tale.

The narrative follows three school kids – Kai (Selorm Adonu), Joy (Kadiesha Belgrave), and Khaleem (Ebenezer Gyau) – and the urban legend of a dead Black teenager named Baitface (Dani Harris-Walters). According to the legend, Baitface was chased to his death upon being falsely accused of a crime while returning home from school.

In a haunting twist, the trio finds themselves under suspicion from larger, surveilling forces, despite being ordinary children. One is a high-achieving head boy worried about his standing when his homework diary is confiscated; another deals with questions of gender identity; the third has a close bond with a grandparent. The play captures their playful banter, fights, and reconciliations, evoking tenderness and empathy.

Inspired by urban legends and Afro-surrealism, the work also seems influenced by Daniel Kaluuya, a Royal Court alumnus mentioned early in the performance. The play draws metaphoric parallels between Black hauntings and racial oppression, reminiscent of Jordan Peele’s “Get Out,” which catapulted Kaluuya to fame. The characters grapple with existential dread, fear, and guilt, highlighting that such experiences are part of the coming-of-age journey for Black teenagers, regardless of their innocence or guilt.

Directed by Monique Touko, the play blends non-realism with everyday life in audacious ways, similar to Jasmine Lee-Jones’s “Seven Methods of Killing Kylie Jenner,” an award-winner at the Royal Court in 2019. Though each play tackles its own themes, both simmer with cleverly rendered undertones of anger.

Kusoro, a recipient of the George Devine award for promising writers, showcases her talent in this complex and ambitious production. Expressive movement, choreographed by Kloé Dean, evokes repeating nightmares and spectral sightings, reinforcing the play’s central Kafkaesque theme of being chased by an unknown force for an unknown crime.

Tonally, the play balances between a horror story and a coming-of-age drama, juxtaposing gothic dread with schoolyard comedy without diminishing either. Madeleine Boyd’s gloomy set design is intermittently illuminated with light, sound (by Khalil Madovi), and projections of rolling news reports (video design by Tyler Forward).

There are moments that feel rough around the edges, with repetitions that can leave the audience momentarily adrift. Additionally, the treatment of gender identity can sometimes feel heavy-handed compared to the subtly woven themes in the rest of the play. However, the Royal Court’s upstairs stage is known for discovering new talent, and this production certainly meets that standard.

At Royal Court Upstairs, London, until 21 September

Source: The Guardian