Tunde's 30th birthday is on its way. But he isn't in the mood for celebrating like he usually does, much to the dismay of his friends and family. He's also not attending the gym, his mood his low, he's broken up with his girlfriend of 5+ years and now, every time he has sex with someone new, he ends up in tears.
Ifeyinwa Frederick's new play about male mental health, masculinity and vulnerability opens up conversations about who we can turn to in our darkest days. Delving deep into one man's experience on the edge, it's a playful, delicate and at times uncomfortable take on depression.
Sitting solo on stage, Tunde's situation looks rather bleak. Anna Reid's set design creates a drab atmosphere for him to inhabit. Boxes are packed up, personal touches are obsolete and Simisola Majekodunmi's lighting accompanying the situation results in a glib environment. Tunde keeps this reality hidden from his friends; the only person he speaks to about this is his therapist - a new person in his life; someone he is first reluctant to confide in, but someone who he eventually feels great comfort in.
Joseph Black's portrayal of a man on the edge accurately depicts the pain someone would feel when they can't see a way out. Black's physical gestures and over the top expressions bring delight to the story, and highly entertain the audience. His high energy radiates around the room, allowing us to not always sit in the doom and gloom. Black works hard to keep us entertained for the 90-minutes, and is able to navigate with ease between charisma and charm, and the more complex emotions of anxiety, fear and angst are portrayed just as beautifully.
Frederick's script takes you on a clear journey; struggle is portrayed clearly and Philip Morris does well to keep the narrative arc on track. The direction allows some nuanced detail to be shown in performance, but this could be pushed a lot further. Black is a very capable actor, but some of the staging choices feel hesitant, leaving the intention to lack some clarity. At about an hour in, you feel like you've seen everything you need to, as the production's pacing becomes sluggish. The script requires more action to retain attention and justify the extra 30 minutes.
All in all this is a solid production, and with the rise of suicide in young men, this play feels timely and important. And it's great that there's a glimmer of hope at the end.
Sessions at Soho Theatre until 4 December
Photo credit: Rebecca Need-Menear
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