MAYER WAKEFIELD is entertained but let down by an audacious production that, sadly, doesn't ring true
EVEN before lockdown, NT Live was bringing great theatre to a significantly wider audience than previously possible and now its free streamings offer more of the same, among them Inua Ellams’s Barber Shop Chronicles.
The barber’s shop, we're told, is “where men come to be men” and this play is a chance to bask in an exclusively masculine world — a novel and refreshing setting at a time when the cause of women is the more common concern.
Heart-warming, affectionate, amusing and life affirming, the characters are all African, or at least of that extraction. In a continent as huge as Africa, those lineages are as diverse and nuanced as it is possible to imagine — among them here Nigerian, Zimbabwean, Cameroonian and Ghanaian — while some are Jamaican and others embrace Britishness.
MARY CONWAY keeps up with the sheer pace of a drama about the terrible gap between sanitised reporting and real-life turmoil of race and gender
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY


