Review: THE REALNESS, The Big House

“It’s back to the realness”

For its current show, The Big House Theatre Company has brought in a musical that sold out its original production in 2014, The Realness.

For those unfamiliar with the charity, The Big House is a theatre company that works with care leavers to “provide a platform for them to participate in the making of theatre and to have their voices heard” and “collaborates with theatre industry professionals who are excited by our highly disciplined work and inspirational membership, to help us create theatre of the highest standard.”

The Realness, directed by Maggie Norris, is “an urban musical” that tells the story of Jay Johnson, a man who has been released from prison. Determined to change for the better, Jay is working to try to stay straight, but soon finds himself being pulled back into the world that had sent him to prison in the first place. With a book by Maureen Chadwick and David Watson and music and lyrics by Kath Gotts, The Realness brilliantly combines rap, reggae, gospel and grime songs with dialogue to create a fantastic piece of theatre. 

Walking into the theatre, you are greeted by an entirely white space and bench seating, with projections of a prison on the walls and background audio playing as you take your seats. Immediately, you are thrown into the world of Jay, played by Jake Walden, as he leaves prison and returns home to his mother, Adele (Amanda Poesener). Parts of the show are narrated by a radio channel (voiced by Mensah Bediako), discussing religion and the concept of how “London Town” has changed. 

Walden does a brilliant job taking on the role of Jay, expertly switching between his new behaviours he has learned in rehabilitation and those he has known for years. He is joined by Anais Lone as Shanice, Jay’s former lover who is also working on setting a new path for herself and her baby, Ty. Lone’s vocals are stunning and left me with my jaw dropped multiple times throughout the show. Each and every cast member is fantastic in their roles, being given the chance to show off their acting, singing and dancing abilities even in a small space. A standout performer is Charmel Koloko as Obi the Ticket Inspector, who gives a stellar rendition of “Ticket Machine” that had the whole audience laughing. 

Set Designer Tina Torbey has done a great job of using a small space to its fullest advantage, using only a few set pieces throughout the show to establish different settings. Combined with Torbey’s set design, videos designed by Mic Pool not only set the scenes but create catchy transitions between them, using videos to show where the characters are going. Both of these aspects are enhanced by the lighting design of Alex Forey and sound design of Julian Starr.

The costumes, designed by Bertie Taylor-Smith, are all distinct to the characters, enhancing their personalities and allowing performers to quickly move around the stage. Choreographer Fi Silverthorn is able to use the tight space to the show’s advantage, creating dance moves that sometimes spill out into the audience, allowing them to feel as if they have been pulled into the world of the show themselves. I particularly enjoy Silverthorn’s use of prams during one song, “Turning Around,” which gives the young women in the show a chance to shine as they mock Jay and his promises to change. 

One of the major highlights of the show is its music, accompanied by Musical Director Joey Hickman or played on a track depending on the genre being used. Some of the best moments were those that used gospel music, typically led by either Mensah Bediako as Pastor Hovis or Adele. There are a few moments that slow down a bit too much in the second act, but things quickly pick back up for the ending that brings everything full circle in a satisfying conclusion (Even “Ticket Machine” makes a comeback for a fun reprise!). 

Ultimately, The Realness at The Big House is a powerful production that allows its performers to shine through fantastic songs and heartbreaking scenes. 

The Realness runs until 9 December at The Big House.

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