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Review: The Lonely Londoners (Kiln Theatre)

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Review by Rosie Holmes

 

⭐️⭐️⭐️⭐️

 

Sam Selvon’s 1956 novel The Lonely Londoners has long been hailed as a classic of post-war British literature, capturing the heartache and hope of Caribbean immigrants in 1950s London. At the Kiln Theatre, Roy Williams’ stage adaptation—following a successful run at Jermyn Street Theatre—transports us into the same world of resilience, camaraderie, and struggle that Selvon so beautifully captured in his novel. With a talented cast and innovative direction, this production stands as a powerful reminder of the experiences of the Windrush generation.

 


The play opens with Moses, portrayed with quiet charisma by Solomon Israel, a figure who guides new arrivals to London through the rough terrain of a city that seems both full of promise and rife with discrimination. As Moses, Israel offers an almost mentor-like presence to the group of men who populate the play. Yet, his outward confidence gradually unravels as we learn of the ghosts of his past. Israel’s nuanced performance deftly navigates Moses’ strength and vulnerability.

 

Moses’ friends ‘Big City’, Lewis, and Galahad each bring a distinct layer to the story. Gilbert Kyem Jnr’s ‘Big City’ is an entrepreneurial hustler, providing moments of comic relief through his charmingly wrong pronunciations of London place names. This comedy offers a necessary counterbalance to the harsher elements of the play, yet his performance also displays Big City’s weariness, a man who is considering turning to crime as his hopes of success in London wane. Tobi Bakare’s portrayal of Lewis is a masterclass in fragile masculinity; his poor decisions are wrapped up in paranoia and bitterness, showing the vulnerability behind his bravado. While his actions are not to be condoned, he does elicit some sympathy. Romario Simpson’s Galahad exudes naivety as a young man full of hope, only to have it tragically shattered by racism and poverty. The performances of these four men form the heart of the production, offering both humour and depth as they navigate the complexities of their lives.

 


The women in the play are fewer in number, but their roles are no less essential. Shannon Hayes as Agnes brings quiet strength, creating an endearing partnership with Carol Moses’ haughty but likeable Tanty. Aimée Powell’s Christina adds an ethereal quality to the production as a ghost from Moses’ past. While the men wrestle with survival and identity, the women are more outwardly content in their newfound freedom in London, providing a stark contrast to the men’s struggles.

 

At its core, the play is a powerful exploration of the friendships that sustain the men through their loneliness. While racism and hardship are never far from the surface, it is the camaraderie between the characters that provides the emotional anchor of the show. The banter between the four men is touching yet never sentimentalises their experiences. It’s in this solidarity that the play finds its heart. A poignant moment comes late in the show, when Moses declares that although they may be lonely, they are never alone.

 


This sentiment is beautifully reflected in movement director Nevena Stokov’s use of dance sequences throughout the play. Initially I was a little sceptical of the inclusion of dance in a drama like this, but the choreography combining lyrical movements with the themes of friendship and resilience becomes a vital means of expression. These sequences, particularly those depicting the raising of a baby and the power of male friendship, are emotionally resonant and elevate the storytelling. They offer a visual translation of Selvon’s poetic language, making the emotional landscape of the novel come alive on stage.

 

The set is minimalistic, primarily consisting of seven trunks, which subtly suggest the little possessions the characters have and the transient nature of their lives in London. Lighting design by Elliott Griggs consists of a series of square lights behind the actors, intensifying as the pace and tension build. While the lighting design is visually striking, at times it feels somewhat disconnected from the minimalist set, almost as if it doesn’t entirely match the play’s grounded realism.



Ultimately, The Lonely Londoners at the Kiln Theatre captures both the grit and the hopefulness of the immigrant experience in 1950s London. It is an honest portrayal of the struggles faced by the Windrush generation, but also a celebration of their resilience, solidarity, and friendship. Sam Selvon’s work often been referred to as a classic, and this stage adaptation does justice to his legacy. As the play deftly explores the painful realities of loneliness, and racism, it is clear that the strength of the production lies in its portrayal of the enduring bonds between these men. It is in this camaraderie that they find solace. This production of The Lonely Londoners is a standout for its ability to remain faithful to the spirit of Selvon’s novel while bringing new life to it through a creative and impactful stage experience.

 

The Lonely Londoners plays at the Kiln Theatre until February 22nd

 

 

Photos by Steve Gregson

 

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