Review: ALTERATIONS, National Theatre

Michael Abbensetts was the first Black writer to have a series commissioned by the BBC: the groundbreaking Empire Road, which had an almost entirely Black cast and crew. The Guyanese writer's work has been largely forgotten, so it seems appropriate that The National Theatre, with its important Black Plays Archive, has chosen to stage his play Alterations, not seen since 1978.

The play covers 48 hours where tailor Walker Holt has been challenged to complete a huge order for a local businessman. The money he will earn will help him finally achieve his dream of a tailors shop on London's Carnaby Street. But ambition is harder to achieve when time and tempers are short, close relationships fray and casual racism is never far away.

Arinzé Kene makes his National Theatre debut as Walker, a man so obsessed with his ambitions and own desires that he has forgotten his family in the process. Kene gives Walker some manic energy, bouncing around the workshop as he tries to get through the mountains of work in time. He is not afraid to lean into the inherent selfishness of the character, even rejecting the calls from his mistress in his efforts to succeed. Abbensetts creates an underdog who faces an uphill climb to get to where he wants to go, but he allows Walker to be fairly unlikeable in the process.

Cherrelle Skeete is a powerful presence as Walker's put-upon and ignored wife Darlene. You can sense real emotion in her wistful longing for her home and family in Guyana, wondering what she could have achieved if she had stayed. Her sharp tongue masks deep unhappiness with her life and her marriage.

Gershywne Eustace Jnr, so good in the National's Small Island, is an affable and calming presence as Walker's alleged partner Buster. Karl Collins is very amusing as the peacocking Horace, brought in reluctantly to help them fulfil the job.

Raphel Famotibe is fiery as van driver Courtney, eloquent and frustrated, he feels stuck and unable to see where his future can go. Colin Mace brings depth to the role of Mr Nat, a Jewish immigrant who knows only too well what it means to fight your way to success.

Additional writing by Trish Cooke has modernised some of the writing and enhanced the female presence. This is a straightforward story, but nonetheless effective in conveying the struggles of a generation of hopeful immigrants who want to succeed on Britain's unfriendly shores. The racism faced is not shoved in the audience's faces; it is implicit, subtle and all the more effective for it. Money and success is sufficient revenge.

The colourful, lively and sometimes chaotic show is directed by Lynette Linton, who directed Benedict Lombe’s brilliant Shifters at the Bush Theatre before it transferred and became only the third play by a black British woman to be shown in the West End. Linton keeps the light humour in the play, with beautifully playful teasing and arguing between the men. Women's positions are given more gravitas: Darlene has enough agency to take back control of her life, as does the unseen wife of Mr Nat.

The Lyttleton stage is a challenge to fill, but Frankie Bradshaw's wonderfully cluttered design encorporates all the mess of a small tailors shop, cleverly lowering racks of clothes from above and sliding side platforms to show Walker's idealist vision for his future shop. The clothes themselves are wonderful, particularly Horace's flared, purple suit and large-brimmed hat. Oliver Fenwick's warm sepia lighting compliments the period setting brilliantly.

Despite lovely staging and Great Performances, the production stays a little beyond its welcome, with several scenes lingering too long. Not every forgotten work is a masterpiece, but Abbensetts's work certainly deserves more recognition. It is in safe hands here.

Alterations is at the Lyttleton Theatre, National Theatre until 5 April

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