Review: Deep Azure (Sam Wanamaker Playhouse)

Review by Daz Gale

⭐️⭐️⭐️

At the time of his tragic passing in 2020, Chadwick Boseman had ensured his legacy with his iconic and groundbreaking turn as T’Challa in Marvel’s Black Panther. Before he took on the roles that made him a household name, Boseman had worked as a playwright, and audiences in London finally got a chance to see his work with the arrival of Deep Azure at Sam Wanamaker Playhouse. Would this posthumous production be a fitting tribute to his immeasurable talents, or would it struggle to reach the depth of his legacy?

First seen in 2005, Deep Azure focuses on Azure, as her world spirals out of control, following the death of her fiancé, Deep. Having been killed by the police in an act of black-on-black violence, Azure and Deep’s friends try to find peace in the wake of the tragedy, while seeking justice and trying to work out exactly what happened and who was responsible for it.

The intimate Sam Wanamaker Playhouse at Shakespeare’s Globe may not seem like the most obvious of homes for Deep Azure, but it doesn’t take long to realise why this is such a strong fit for it. Heavily influenced by the poetry of Shakespeare, Deep Azure takes place mostly in verse, with a Hip-Hop twist peppering in a smattering of classic numbers from previous decades, soundtracking what should be a powerful and emotive story.

Boseman’s talents as a playwright are clear to see with his voice all over Deep Azure as he tells the story of this tragic couple, made all the more poignant firstly from the fact that it is inspired by the true events of university student Prince Jones, and then the fact that Boseman is sadly no longer with us. Though it was written more than twenty years ago, the themes of the play are still starkly relevant in 2026, perhaps even more so than Boseman could have ever imagined, with certain aspects of the climate deteriorating, and the themes prevalent in the story all the more real in the United States, as disappointing as that is.

Boseman wrote Deep Azure when he was a young man, and it does struggle with its tone at times, coming across as uneven and a bit too weird. As someone who enjoys a bit of weirdness in the theatre, elements of this production proved a bit too much for me. This is mainly down to the ensemble, who for some reason, appear in the first act as futuristic robots. What was the purpose of this? I couldn’t tell you, and that isn’t for lack of trying. I hoped for some sort of payoff that explained this choice, but it seemed to be there for art's sake - the same can be said about the ensemble inexplicably transforming into pigeons in a particularly annoying section that added nothing to the piece and, if anything, undermined the serious nature of the piece. While I am all for juxtaposition in tones, I would argue there is a time and a place, and this felt at odds with the story Deep Azure was trying to tell.

In his direction, Tristan Flynn-Aiduenu tries to find a cohesive throughline to the story, but Boseman’s absence can be felt, leading to a production that feels stitched together from broken parts at times. The direction also ramps up the weirdness, with one prolonged section involving two ensemble members continuously making popping sounds with their mouths to resemble what can only be described as a static tennis match going on far too long. In a play such as Deep Azure, I want to be annoyed by the message of the story and how it compares to the injustices we face in the real world, not through some questionable direction.

The direction fared far better at other moments, with a great use of the small but mighty space at Sam Wanamaker Playhouse. Cast members appeared at every corner on every level, jumping on and off the stage, passing objects to audience members, and even extinguishing the iconic candles that lit up the theatre. This is a play that is far bigger than this space, and Flynn-Aiduenu showcased that when his direction was at its strongest.

There is something beautiful and breathtaking about the candlelit setting of the Sam Wanamaker Playhouse - inexplicably, this was my first trip there in 8 years, and I forgot what a beautiful experience it can be there. This was utilised further with some striking design elements, courtesy of Paul Wills, with a futuristic, silver aesthetic countering the candlelit aesthetic. A stunning use of lighting shining through the windows behind the audience proved incredibly effective, making Deep Azure visually thrilling even when certain elements didn’t match that level.

Music plays a big part in the story, with four ensemble cast members singing and beatboxing with no accompaniment. The talent is clear to see, and the music works well sometimes, less well at other times. If you visited the Globe previously and felt what was missing was a short burst of the Power Rangers theme, or an entire verse from the ‘Cheers’ theme tune, Deep Azure is certainly the show for you. While some are presented in gibberish, others with their actual lyrics, it’s not long before cast members usually break out into song in a technique that is certainly interesting and perhaps even unconventional - admirable in its execution, even if it doesn’t always land.

The strongest element of Deep Azure is the cast, most notably Azure herself. Selina Jones has the most to do in the show, and goes on a journey of extremes with her anguish, confusion, sorrow and heartbreak, testing Jones’ capabilities - a challenge she more than rises to. A painful breakdown towards the end of Act One and a surprising response to a crucial moment in Act Two make her performance continuously exciting and captivating. Jayden Elijah has far less to do as Deep, but the moments he appears showcase his own strengths as an actor, and his presence in parts of the theatre when he is not on stage provides an otherworldly aspect.

Aminita Francis and Imani Yahshua are both standouts as the Street Knowledge of Good and Evil, respectively. Both doubling as other characters, they showcase versatility in their performances, offering humour and a more serious tone at times. Justice Ritchie gives a solid turn as the underused Roshad, while Elijah Cook is powerful and even terrifying at times as Tone.

Deep Azure is a deeply imperfect show, but I can’t fault its attempts at doing something different. When it works, it is fantastic, but it is in desperate need of reining in at times, somehow feeling as if it doesn’t know what it wants to be and how to tell the story. For obvious reasons, there is a disconnect between the writing and direction, with the cast working overtime to try and make something cohesive out of a mixed bag of ideas. It might not always work, but it is certainly never boring. If anything, it is a fitting reminder of the weight of talent Chadwick Boseman had, and the missed potential of the plays he may have written in the future, had his own life not been so tragically cut short. 

Deep Azure plays at Sam Wanamaker Playhouse until 11th April. Get tickets from £7 at https://allthatdazzles.londontheatredirect.com/play/deep-azure-tickets

Photos by Sam Taylor