Stepping into the NoĆ«l Coward Theatre for Slave Play, youāre immediately aware that this isnāt going to be a typical night at the theatre. With Jeremy O. Harrisās fearless writing and Robert OāHaraās sharp direction, Slave Play arrives in London for a strictly limited run that demands attention. Itās a play that doesnāt shy away from provoking its audience, diving deep into race, identity, and sexuality with an intensity thatās impossible to ignore.
The cast brings this intensity to life with a level of skill and nuance thatās truly impressive. Leading the charge is Fisayo Akinade (Heartstopper), whose performance is layered with vulnerability and simmering rage, capturing the complexity of his character with precision. Kit Harington sheds his brooding Game of Thrones persona entirely, stepping into a role thatās worlds away from Jon Snow.
Slave Play starts with the promise of a searing examination of race and power, its uneven pacing in the second half causes the momentum to falter, leaving the audience more adrift than engaged.
Alongside them, Aaron Heffernan (Femme) and Olivia Washington contribute to a dynamic British cast, while Broadway originals James Cusati-Moyer, Chalia La Tour, Maite Jauregui, and Irene Sofia Lucio return to their roles, adding depth and continuity to the production. Each actor delivers a performance that swings between raw vulnerability and sharp, unsettling power, keeping the audience riveted.
From the very start, the play grabs you by the throat and doesnāt let go. Harrisās script is relentless, pushing the audience into uncomfortable territory with its exploration of race relations and power dynamics, all played out through hyper-sexualised and often disturbing scenarios. Akinadeās portrayal is particularly compelling, his characterās pain and anger palpable. Meanwhile, Harington dives headfirst into a character that is both complicit in and oblivious to the racial tensions that surround him, showing a side of himself thatās far removed from anything weāve seen before.
But itās not just the performances that make Slave Play stand out. The staging, while deceptively simple, is extraordinarily effective. Mirrors are strategically placed across the whole stage to pull the audience into the heart of the playās tension, reflecting not just the characters but the viewers themselves. This clever use of staging forces us to confront our own roles in the dynamics on display, blurring the line between spectator and participant. The result is a deeply unsettling experience that ensures every gasp, every uncomfortable laugh, and every moment of silence hits home on a personal level.
As the play progresses, though, the energy shifts. The razor-sharp focus of the first act begins to waver, and the blistering pace slows in the second. Moments that should be building to a crescendo instead feel drawn out, creating an uneven pacing that detracts from the playās impact. Itās as if the production gets caught up in its own ambition, reaching for something profound but not quite managing to grasp it. Despite these flaws, Slave Play still leaves a lasting impression.
And letās not forget the moment that many in the audience were undoubtedly waiting for: Kit Haringtonās bold choice to bare it all. When the clothes come off, thereās a collective intake of breath – not just because of the nudity, but because Harington throws himself into the moment with an unfiltered emotional intensity thatās hard to ignore. For those who have followed his career, itās a tantalising reminder that thereās far more to Kit than just Jon Snow. If you werenāt already intrigued, this might just seal the deal.
Final Thoughts ā ā ā
By the time the final scene closes, Slave Play has left its mark. Itās a play that provokes, discomforts, and forces its audience to wrestle with difficult questions. While the second half may not fully live up to the promise of the first, the overall impact is undeniable. Jeremy O. Harrisās work is bold, daring, and vital in the conversations it sparks about race, trauma, and identity.
Would I recommend Slave Play? Probably not to everyone. Itās not an easy watch, and itās not meant to be. This is theatre that shakes you up, even if it doesnāt always stick the landing. But with a cast this electrifying – especially the mix of British and original Broadway talent – itās a ride worth taking, flaws and all.
Playing at the Noel Coward Theatre, until 21 September 2024.
Disclaimer: Ticket was purchased without any association or endorsement from the theatre.
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