London-born actress Natasha Gordon’s warmhearted play, Nine Night, now making its first appearance at the National Theatre, is as much about family, music and mourning as it is about ethnicity or migration.
It’s hot. Real hot. And you’re dancing, just lost in music. You’re at the legendary Shrine nightclub in Lagos, where Afrobeat star Fela Kuti is king. It’s 1994. And it’s hot. Sweat is just pouring off you, no longer in little trickles but soaking through your clothes.
Love, we know, will tear us apart again. And again. And yet again. It will shred our nerves and rip through our guts; it will fill us with anguish, and then douse us in regrets.
Welcome return of last year’s American hit boxing drama, which is thrilling if a bit hard to follow.
New captive drama is well-written in a symbolic vein that helps to humanise the story behind the headlines.
Experimental family drama is very powerful, but its theatrical form is too complicated for its own good.