Review: THE LONELY LONDONERS, Kiln Theatre

There used to be an almost romantic theory around the Windrush generation; those enterprising West Indians who were embraced after they were invited to Britain to help drive trains and work in hospitals. Anyone still under the misconception that we welcomed them with open arms has been repeatedly and firmly disabused of that theory through government scandal and much writing about the subject.

Roy Williams’ tight adaptation of Sam Selvon’s 1956 rather meandering novel The Lonely Londoners continues that education. It was a hit when it played at the small but mighty Jermyn Street theatre last year. Ebenezer Bamboye’s adaptation now comes to the Kiln Theatre, transporting you to a Bayswater bedsit in the 1950s where four West Indian men are trying to make their way in a city that seems to despise them.

These newcomers have immigrated in the hope of a warm welcome and a better life. The reality of the ‘mother country’ is racism, hunger, cold and rejection.

All but one of the original cast reprise their roles, speaking in a warm and speedy patois, which only adds to the authenticity of the piece. Solomon Israel takes on the role of gentle Moses, the central character who acts as counsellor and confidante to the rest of group while quietly longing for the impossibility of returning home. His story is gradually revealed; why he left, who he left and what he lost. It's a poignant performance from Israel, who is incredibly likeable on stage.

Gilbert Kyem Jnr as Big City is is a big presence; curt, brusque and quick to anger. His constant mispronounciation of London areas and streets is a lovely touch of light relief.

Romario Simpson is lovable as Galahad; so full of hope and expectation with just his toothbrush in his pocket, turning sour as the cold reality of poverty, cold and overt racism hits him hard.

Tobi Bakari is harder to like as the fragile and paranoid Lewis, desperate to work, but accused of laziness by his mother Agnes. Bakari conveys bitterness and disillusionment from every pore, leading to understanding of his behaviour, even if it cannot be condoned.

There is a distinct and palpable camaraderie between the men, such as amusing scenes where they try to catch pigeons in the park to cook. However, the stark reality of their life choices is made clear. They must find a job or the allure of drink and crime becomes overwhelming. There is uneasy sadness in the concept that they continue to try and find companionship with prostitutes to fight their loneliness, as though trying to confirm to themselves they are still virile.

Women are more peripheral to the story, but actually have the most agency and development of their stories would only enhance the production. Carol Moses is wonderful, but underused as the formidable Tanty, a stickler for manners and proud that she has managed to get credit from the owner of the corner shop.

Shannon Hayes is a patient and measured presence as Agnes, wife of Lewis. She appears to relish the small gains she makes such as ensuring she gets the freshest produce at Portobello market and shows steely determination that she will not tolerate poor behaviour from her husband. Aimée Powell (in beautiful voice) is an ethereal presence as Moses' ex Christina, ensuring that he is haunted by his poor choices.

The production does not shy away from uncomfortable truths; the men have great camaraderie and spirit, but there is darkness too; crime, violence and alcohol abuse all surface as a consequence of their feelings of frustration and rejection in their new home. 

As at Jermyn Street, there is no set, just a handful of chests that actors perch on at the back of the stage when not in a scene. This means the performances remain central and the excellent cast has nowhere to hide in almost two hours, played straight through. Grids of coloured lights illuminate and flash to differentiate scenes, often to blinding effect. 

The Lonely Londoners is an astute and moving portrayal of relationships and struggles with adversity in many forms. As a final scene conveys beautifully without words (huge credit to movement director Nevena Stojkov), these Londoners may be lonely, but they are not alone. 

The Lonely Londoners is at the Kiln Theatre until 22 February

Photo Credits: Steve Gregson

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