Review: Tones - A Hip-Hop Opera (Brixton House)

Review by Sam Waite

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Billed as a writer, performer, and “rapperturg”, Gerel Falconer is an exciting new voice in UK theatre. Already a Stage Debut Award nominee and a Black British Theatre Award winner, Falconer brings a dynamic blend of musicianship and storytelling to his work, which is fully represented in Tones – A Hip-Hop Opera, the fringe hit now playing at Brixton House with the support of Wound Up Theatre. A one-man show veering close to character-driven gig theatre, it's easy to see this inspiring and effective piece becoming a firm favourite for many.

Told, as the title suggests, almost entirely by rapping, Tones tells the story of Jerome, a poverty-stricken but academically gifted young man, as he navigates racism, classism and colourism, alongside the typical hazards of growing up. After developing a strong friendship with a wealthy white boy, things sour as Jerome enters secondary school, setting him up for an unorthodox journey through life, education, and falling in and out (and in again) of love with music. Composer 3D Williams provides a continuous backdrop of music, drawing on his and Falconer’s love of UK hip-hop, grime, and drill music.

Gerel Falconer’s musicianship is intelligent and sharp, perfectly encapsulating the different stages of Jerome’s life by building his linguistic approach and the inflection of his voice to reflect his early attempts to imitate his “posh” friend, and then his struggle to find the balance between his well-spoken persona and his efforts to be “Black” enough. The shift between an adult Jerome’s personable, alarmist casual delivery and his early raps as “The Professor” is noticeable and adds a comedic touch to the proceedings.

Gifted as an actor as well as a playwright, Falconer brings the same easy shifts to embodying other characters in Jerome's story – such as girlfriend Genevieve, father figure Uncle B, and an obnoxious white-boy rapper. His script feels fleshed out and his world lived-in, thanks to how fully he understands and represents the array of characters in Jerome’s life. In one particularly stirring sequence, Falconer portrays both Jerome and a university rival in a rap battle, fully embodying both the growing confidence of Jerome and the arrogance of his opponent. In a clever move, he demonstrates just how much we should hate the other rapper, while getting the crowd hyped up from within the persona.

Williams’ score is just as dynamic, earning his own well-earned round of applause at Tones’ press night. Blending genres and adding a consistent rhythm to the usual one-man structure, Williams proves invaluable and provides quality scoring that works both as music in itself and as accompaniment to Falconer’s continuous and energetic flow. The pair make for a stellar duo as well as being incredible talents in their own rights, and Tones is an excellent showcase for both’s abilities.

Jonny Kelly both helped to develop the show and acts as its director, completing a strong trio of creatives who breathe life into Tones’ unique take on storytelling. His direction works alongside his star’s performance to bring us into the narrative, beginning with the energetic movements of boyhood and building up to the epic showdown which has longstanding repercussions on both Jerome’s music and his life itself. The staging and blocking here make sure that no seat in this black box setting is any better or worse, as Falconer will seem to be performing straight to your section at some point during the energetic, deeply impactful performance.

The product of a sharp, insightful mind, Tones – A Hip-Hop Opera introduces Gerel Falconer as a gifted writer, an exemplary performer, and someone with plenty to say about the specific difficulties of growing up as a Black man in a world ready to accept only parts of him. Promising to explore growing up Black, growing up mixed, and never quite fitting in, it's hard to argue that any of these aims is left unachieved. The remarkable, unstoppable trio that is Gerel Falconer, 3D Williams, and Jonny Kelly, demonstrate here exactly why voices like Falconer’s, why creators like Williams, truly need to be heard.

Elevated by this incredible trio’s infectious energies, Tones succeeds on every level, culminating in a joyous, heartbreaking, and even perspective-changing hour that both flies by and feels impressively full. Major successes have encouraged the exploration of all genres as part of music theatre, and Tones is inarguably a prime example of how vital, and how successful, this exploration continues to be.

Tones – A Hip-Hop Opera plays at Brixton House until November 9th

For tickets and information visit https://brixtonhouse.co.uk/shows/tones-a-hip-hop-opera/

Photos by Ikin Yum