A hilarious and devastating political musical that blends together an astonishing number of issues in one man’s story, that of Vernon Vanriel, in the backdrop of the Windrush Scandal. Characters in this story are larger than life and scenes are intricately erected and swept away in but a breathmasterfully told by the chorus played by Amber James and Ashley D Gayle.
Courtesy of Steve Gregson.
At first it moves too quickly, like the boxer, it’s hard to keep up. But soon enough you fall in love with this form of storytelling, like you do with the characters and the man behind the headlines. After this play, Vernon Vanriel isn’t a name you’ll likely forget, and never should he and the thousands affected by the hostile environment have been forgotten.
I’m usually an off-west end, studio theatre-kind-of-goer who forgets how powerful musical theatre can be. I can’t imagine this show told without music. You don’t need to be familiar with the rhythmic energies of blues and reggae or know a jot about boxing to find your feet tapping away and your heart enthralled by the blow-by-blows. The songs are perfectly matched for the different beats and the notes hit by Amber James were so sweet I became acutely aware that I was sat front row in-the-round where my saccharine looks could be clocked by audience members. I left the auditorium humming (Sittin’ On) the Dock of the Bay and eager to find the show playlist.
The show is almost 3 hours long with an interval, but it flew by and when it did end, after a standing ovation, we had to be ushered out of our seats because I for one wasn’t ready to move on. There was something DIY about the way the play was told. It wasn’t polished, the set looked unfinished, and the costumes were uninspired and at first glance a play with so many character changes would feel like a recipe for a headache. I say all of this to say that despite this, this is a must-watch because of the story, the chorus who go above and beyond, and of course the music that will uplift even after your heart breaks with Vernon after every bad hand he’s dealt— the changing but steady face of racism in this country over a lifetime, battle with mental health, institutional violence, poverty, homelessness. The direction by Anastasia Osei-Kuffour was outstanding to balance the demands of the script with the delivery of what could easily have been black poverty porn into an everyman epic filled with percolating movement, easy comedy and musical chemistry between all performers.
On a final unapologetically gushing note Mensah Bedioko deserved special mention for pulling off a character who ages sixty years over three hours. An actor playing the different stages from a boy to a pensioner isn’t something I’ve seen on stage and at first it was a little disconcerting. Especially in contrast with the youthful casting of the chorus who play Vernon’s parents, his sisters, friends and lovers. Only at the end can you appreciate the massive feat accomplished by the cast and creative in giving in completely to the storytelling and shattering twenty-first century (unnecessary) expectations of realism to make this work. Bedioko is extraordinary in his depiction of Vernon, it is so utterly believable. I’ll be seeing this play again and I strongly advise that you get booking too and tell all your friends and family, and spread the word so that we remember Vernon Vanriel in our collective memory.
Written by Tasnim Siddiqa Amin.
Follow Tasnim on Instagram: @tasnimsiddiqaamin & WordPress.
On the Ropes is currently showing at Park Theatre until Saturday 4th February 2023. To find out more about the production, visit here…
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