Review: Blood Of My Blood (Royal Court Theatre)

Review by Cat Wiltshire

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How much of our past do we carry with us, and how much of it do we really understand? The choices made by our ancestors, the secrets they kept and the lives they lived can echo through generations, shaping who we are in ways we may never fully understand. In Joy Nesbitt’s Blood of My Blood, currently playing at the Royal Court Theatre, two women separated by more than 150 years find their lives unexpectedly tied together in a story that crosses the boundaries of time. As uncomfortable truths are uncovered and assumptions challenged, one question remains: how much of our ancestors' blood runs through our own?

Blood of My Blood is a powerful exploration of ancestry, identity and the legacy of slavery, inspired by Joy Nesbitt’s own family history. Originally titled Good, the play draws on Nesbitt’s research into an ancestor who had nine children with the man who enslaved her; this leads to conversations surrounding the complicated relationship between love, coercion, survival and freedom.

Split between South Carolina in 1862 during the American Civil War and present day, the story follows two women separated by more than 150 years but connected by blood. In the past, Ginnie Good, played by Ronkẹ Adékọluẹ́jọ, is an enslaved woman raising her children on a plantation whilst dealing with her unequal relationship with Doc, played by Patrick Vaill. Doc is also the man who owns her. Meanwhile, in the present day, Talulah, played by Jodie Campbell, is a young Black British woman from West London facing a difficult decision and staying at the same plantation, which is now an Airbnb. Through the practice of Conjure, she tries to communicate with Ginnie in search of guidance.

Tackling the difficult subject of slavery is no easy task, but Joy Nesbitt does a wonderful job through writing that is intelligent, ambitious and nuanced. Nesbitt does not fall into the trap of writing characters that are clearly good or evil, instead sticking to the murky bit in between. Her decision to weave together two timelines is very effective, letting the past and present inform one another whilst highlighting the consequences of historical injustices that continue to echo today.

The dialogue is sharp, natural and often very funny, showing off Nesbitt’s ability to find the funny moments in a very emotional narrative, though perhaps the conversations in the present day are slightly more contrived than those of the past. There were moments when the transitions between comedy and tragedy felt a bit forced, but this may have been due to the sheer volume of standout moments fighting for attention. The conversations between Ginnie and her enslaver are very thought-provoking and really made me ask myself questions about how I would have survived, challenging the audience to question themselves in this way is a sign that the play has had a real impact.

Tatenda Shamiso’s direction brings Nesbitt’s ambitious script to life with sensitivity and creativity. Shamiso keeps the transitions between the 160-year gap feeling fluid, allowing the stories to unfold alongside each other without losing the significance of either Ginnie's or Talulah's story and experience. There is a careful balance between those lighthearted, humorous moments and the deep, harrowing exploration of slavery. Something that is very effective is the way supernatural elements are tied into the storytelling, creating an almost dreamlike atmosphere as the line between the living and the dead fades. Shamiso also makes great use of the intimate performance space, meaning the audience can be drawn into the characters' experiences. That thoughtful direction means what we are left with is a very human story at the centre of a theatrically ambitious play.

Despite Ginnie and Doc being the characters furthest away from my own experiences, I found that they were the ones I felt the most drawn to and who resonated with me, which is largely down to the amazing performances from Ronkẹ Adékọluẹ́jọ as Ginnie, and Patrick Vaill as both Doc and James. In regards to the scenes set in the present day, Jodie Campbell does a great job of playing Talulah, a character stuck in a state of confusion, played well in awkward conversations with Hannah Morris as Nora and Amanda when she is the Airbnb superhost that won't stop popping by. Karene Peter does a brilliant job of anchoring everything also with her portrayal of both Bertha and Necey.

Overall, Blood of My Blood is a compelling, thought-provoking, enjoyable piece of theatre that manages to tackle some very difficult subjects without becoming overwhelmingly heavy. While the play looks into deeper themes of slavery and generational trauma, it is equal parts funny, with moments of sharp humour providing much-needed light relief. To me, it is this balance between the serious and the funny that makes the production so engaging, allowing the audience to laugh one moment and reflect on some uncomfortable themes in the next. With strong performances, imaginative direction and a great script, Blood of My Blood is a powerful reminder that the past is never quite as far behind us as we may think. It is definitely worth a watch and has set Joy Nesbitt up as one of the exciting new voices in British Theatre.

Blood Of My Blood plays at the Royal Court Theatre until 7th November 2026. Tickets from https://royalcourttheatre.com/events/blood-of-my-blood/#content-dates-times

Photos by Marc Brenner