Now completed by Matura’s triumvirate of collaborators – Clement Ishmael, Dominique Le Gendre and Nicolas Kent, all of whom also co-direct – the show is billed as a musical, although in truth that’s a bit of a stretch: the numbers feel tacked on to the drama rather than integrated into it, and structurally they don’t really add anything to the narrative.
This new version, on which Matura was working when he died in 2019, goes even further: with the addition of calypso songs, his play gets a warm, lilting, melodious score to match the rhythmic lyricism of its patois dialogue. Yet the late Trinidadian playwright Mustapha Matura’s 1984 reworking of the Irish classic The Playboy of the Western World infuses JM Synge’s tale of braggadocio and warped romance with glorious sunshine. It’s a long way from the coast of County Mayo to a Caribbean fishing village. ★★★ A scene from ‘Playboy of the West Indies’ (Photo: Geraint Lewis) Sam Marlowe Playboy of the West Indies, Birmingham Rep None of it feels quite fresh or urgent enough, but it’s clever and acridly funny: a domestic inquest delivering barbed testimony and a teasingly open verdict. Most tellingly, magnificent June Watson as nanny Anne Marie tartly asserts that emancipation is a luxury not everyone can afford: Nora’s new life is facilitated by privilege, education, and the availability of a working-class woman to mother her children. Torvald’s sulks and condescension are offset by hurt and confusion – there’s an explosive moment when O’Byrne and Dumezweni’s eyes lock furiously and we glimpse a whole history of unspoken rage and misery. Yet she struggles to accept that Emmy has an independent existence, and doesn’t share her horror of matrimony. As an author, Nora has repossessed her own narrative. The dialectic is familiar: the gendered double standard intrinsic in the monstering of women who “abandon” their families the transactional aspect of marriage the performance of femininity. That means Nora’s career and sexual relationships have violated marriage laws, and she stands to lose everything. But not only did Torvald never divorce her, he allowed people – including her daughter Emmy (Patricia Allison) – to believe she was dead. She’s made her name, and a handsome living, as a writer. Noma Dumezweni’s Nora comes knocking, looking to settle her affairs with Torvald (Brían F O’Byrne).
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