Slave Play, Noel Coward Theatre Review
Written by Chelsea for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review.
Content warnings: nudity, sexual scenes with some including sexual violence, and discriminatory language.
After a record-breaking 12 Tony awards nominations, Slave Play comes to London with audiences already divided before even walking in the door.
Without giving too much of the plot away, Slave Play tells the story of three interracial couples trying to rejuvenate their sex lives by taking part in a workshop called “antebellum sex therapy”. This includes a form of sexual role-play that takes us back to the Antebellum South era. Where slavery was the social norm in America.
When you walk into the theatre, you are greeted with a massive wall of mirrors. Clint Ramos’ set design forces you from the moment you sit down, until you leave to look at yourself. Immediately making you part of the narrative of the play. It also serves as a form of claustrophobia for the actors on stage, because even when they turn away from the audience they are still forced to face the audience and themselves as they journey through the story.
The play explores and questions complicated elements of sexuality, race, prejudices and the trauma that can appear consciously and subconsciously within a person. Specifically race trauma in the day-to-day, but also the trauma that can be passed down from generation to generation. Going deep into the different ways race is significant and at times messy in the three relationships. It delves unapologetically into how humans can be and are sexually aroused by horrible things. While also exposing how therapy can be helpful and harmful depending on how and who is administering it. The play doesn’t sugarcoat any aspect of what it says, and people will be triggered and uncomfortable throughout the two-hour show. Which is why I’m guessing there is no interval.
That being said, the show is deeply funny, and that is in large part due to the cast. Each character in the play could arguably become a caricature, but the actors give depth to their roles in a way that makes your heart break for them in one moment, and cringe in the next. They all had stand-out moments and it truly felt like an ensemble piece, which is unfortunate with how it’s being advertised based on Kit Harrington coming back to the stage.
I believe this play does exactly what writer Jeremy O. Harris intended. It makes you laugh, makes you feel uncomfortable, and leaves you thinking. This is a play that could be watched or read over and over and you would still see something new every time. It might not be something that you want to see, but that doesn’t mean it doesn’t need to be seen. Whether you love it or hate it, I think this piece is doing what good theatre should: staying with you long after you leave the auditorium and forcing you to have conversations outside of your comfort zone.
At Noel Coward Theatre until 22 September.
★ ★ ★ ★
