Play On! – Lyric Hammersmith

Cameron Bernard Jones in Play On! at the Lyric Hammersmith, London. Picture: Ciara Hillyer

Play On! continues at the Lyric Hammersmith, London until 22 February 2025.

Star rating: five stars ★ ★ ★ ★ ★

“If music be the food of love, play on!” And so it goes in Michael Buffong’s production of Play On! at the Lyric Hammersmith, a sizzling reinvention of Shakespeare that swaps iambic pentameter for the red-hot, syncopated rhythms of 1940s Harlem.

Sheldon Epps’ vision, brought vividly to life by Buffong, transforms this Twelfth Night reboot into a potent theatrical cocktail, intoxicating in its energy and rich in cultural resonance. Reframing Shakespeare’s idioms within the linguistic vibrancy of the Harlem Renaissance is an inspired choice, a breath of fresh life into the Bard’s timeless comedy. 

Viola is reborn as the aspiring songwriter Vyman – a commanding Tsemaye Bob-Egbe – who is thrust into a music scene as ruthlessly male-dominated as any Elizabethan court. The familiar plot twists – mistaken identities and romantic entanglements – are all present but filtered through the prism of jazz, jive and the omnipresent shadow of racial inequality. KoKo Alexandra as Lady Liv smolders with nightclub charisma, underscoring that, even in the supposed escapism of art and nightlife, the sobering realities of the era simmer close to the surface. 

Duke Ellington’s timeless and transcendent music is the beating heart of this show. Liam Godwin and Benjamin Kwasi Burrell’s arrangements soar under the musical direction of Ashton Moore and the orchestrations by Burrell make the music less an accompaniment and more a character in itself, including key moments of charming dialogue between the band and the players. 

The choreography by Kenrick H2O Sandy is a revelation, combining period style with contemporary flair in a high-octane blend. The dancers don’t merely move; they explode with the spirit of the era. ULTZ’s set design, channelling the smoky glamour and slick edges of The Cotton Club, provides the perfect backdrop for this exhilarating theatrical experience. The only missing element is the tap dancing so often associated with Ellington’s music in shows such as Bubbling Brown Sugar (1976) and Sophisticated Ladies (1981-83), but on the other hand those were just musical revues whereas Play On! is a book musical with a real plot into which the Ellington standards fit seamlessly like velvet gloves. 

Though a slight slackening of pace in the dialogue occasionally threatens to derail the momentum, Buffong’s clever direction keeps the narrative engine humming. Earl Gregory as the suave Duke, Llewellyn Jamal as the witty Jester and Tanya Edwards as the melodic Miss Mary are just a few standout performances in a true ensemble piece.

I was particularly impressed by Cameron Bernard Jones playing the straight man Rev, who navigates a rare bass-baritone role with ease and a natural warmth in tone that one desires to hear more often in the genre. Another supporting character who stands out is Miss Mary, played by Tanya Edwards with sparkling scatting and perfect comedic timing.

Truly a strong cast through and through. Their sheer stamina, their ability to sing, dance and act with seemingly boundless energy, is a testament to their dedication. 

The behind-the-scenes talent is equally impressive. From Johanna Town’s lighting to Tony Gayle’s sound design, every element contributes to the show’s overall polish. Rachael Nanyonjo, Luke Bacchus, Nicey Belgrave and Maybelle Laye as associate director, musical director, choreographer and costume designer respectively, ensure that no detail is overlooked. 

Play On! is more than a clever adaptation; it’s a celebration of Black joy, Shakespeare, jazz and theatre’s power to transport us to another time and place. It reminds us that some stories, like the ones inspired by Ellington’s timeless jazz, resonate across the centuries, capturing the messy glory of the human experience. Don’t miss your chance to see it before it closes on 25 February. 

Patrick Honoré