Play On! Review

Reviewed by Amelia

Tickets were gifted in return for an honest review

Following runs in the late 90s in both San Diego and New York, Play On is a jazz musical based on Shakespeare’s Twelve Night. Picture the scene: its swing-era Harlem in the 1940s and the mood is love. We follow several characters on their own journeys to find themselves, fame and ‘something to live for’, as they intertwine and connect with one another. Our main protagonist is the young Viola (Tsemaye Bob-Egbe), looking for an opportunity to showcase her songwriting abilities in an all encompassing ‘man’s world’. She immediately discovers that unfortunately there’s no room in this era for female writers, and that if she is to succeed, she must be disguised as a man. We encounter an array of hilarious, arrogant and interesting people along the way, and discover a shameful ideology that may still be prevalent in today’s society. 

Play On! Ensemble - Ciara Hillyer Production.

The show opens with a show-stopping number from the ensemble and the loveable ‘Jester’, played Llewellyn Jamal. The cast here are working endlessly hard, and this pays off massively. Throughout the piece, we are delighted with several ensemble dances, with excellent choreography from the wonderful Kendrick H2O Sandy MBE. There’s influences of jazz, soul and funk here, and every move is precise and performed with flare. It’s been a long time since I’ve seen an ensemble so tight and together to the point that they all merge into one, in the best way possible. Jamal as Jester is a standout all the way through the show, and has the confidence and charisma to conduct the whole stage.

We meet the energetic and youthful Viola (Bob-Egbe) as she tries to persuade her uncle (Jester) to help her make a name for herself as a songwriter. It is established quickly that this is no place for a woman, and that if Viola is to have any shot at her dream, she must portray herself as a man. Her desire is to be seen by the Duke, Harlems greatest band leader, and present to him her songs. She undergoes the changes necessary to present as a male, and the way that Bob-Egbe plays this is just hilarious from start to finish. While we obviously know her to be female, she exudes the swagger and charm needed to fit right in with everyone around her and it’s easy to forget that she is actually playing a part. 

The Duke is an exuberant character who has very little idea of what it really means to be in love. He professes love from the beginning from Lady Liv, but we come to realise early on, that this does not go beneath the surface at all. He’s played by Earl Gregory with lots of passion and arrogance when necessary, and develops a nice relationship with Viola, despite the fact that he thinks she’s a man called Viman. I think there could’ve been slightly more to show his stance on love and relationships changing throughout the piece, as Viola stands for a lot more than what he does and we don’t see him realise this. I think their relationship is sweet, as she’s idolised him from the start, but I think she’s a strong minded woman, who wouldn’t settle for someone who doesn’t have the same beliefs as she does.

Play On! Tsemaye Bob-Egbe - Ciara Hillyer Production.

As mentioned above, the Duke’s affection is mainly towards the glamorous Lady Liv who sings at the Cotton Club. KoKo Alexandra’s voice is sensational here, and she sings the hell out of the material she’s given. Her character is a diva and ignorant on the surface, but we come to realise that she does not want to be ‘Lady Liv’ all the time and that few people ever get to see her as just a human being. This sensitive side to her is played exquisitely by Alexandra and shows us that there’s always more to people than meets the eye. Her relationship with Rev definitely helps to bring her out of her shell, and there’s is a sweet romance. Cameron Bernard Jones nails this performance and his transformation for the song ‘I’m Beginning To See The Light’ got an electric response from the audience. Watching him getting into the ‘swing’ was a true highlight and one of the best numbers in the show! 

He’s brought to this point by Jester, Sweets (Lifford Shillingford)  and Miss Mary (Tanya Edwards), who meddle hilariously together. Edwards as Miss Mary hits all the comedy notes of the role and gives us everything we need from a strong female character. The crowd pleaser of the night definitely goes to ‘Rocks In My Bed’ by Jester and Sweets. They both gave everything to this number and I’m pretty sure Sweets got a raging cheer for every single sentence he sang. With some even giving this performance a standing ovation, it’s no surprise that they did an encore to more avail. 

The set was relatively simple, but it needn’t be anything too fancy, as the performances more than made up for it. I didn’t want for anything else during the majority of the show, and it perfectly suited the vibes of the era. Having the band on stage was a welcomed choice, with them even getting to join in with some acting here and there. This encapsulated the swing 40s time so well and made us believe we were right at the clubs with them. The direction by Michael Buffong is sensational and I hope there’s life beyond this production for this one of a kind beauty. Play On plays at the Lyric Hammersmith until the 22nd of February.

Tickets are available from https://lyric.co.uk/shows/play-on/

Play On! Cameron Bernard Jones - Ciara Hillyer Production