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The Original Musical was fantastic!!! I don't know what the critics had to complain about. The music was incredible as well as the performers and the stage. I am glad though that the Musical comes back.

Thank you for this review. I saw the Broadway production five years ago, and I own a copy of the script, which I subsequently read after seeing the play. So I want to make a few points from the perspective of an American audience member who has quite deep knowledge of the American history of enslavement as an economic institution of domination and exploitation. I should preface this by stating that I've volunteered for years for an historic property that is New England's main site that served as essentially a Northern "plantation." (The Royall House & Slave Quarters.) So I think your review is very insightful, but I also think this play is deeply American in a way that probably won't read the same for a British audience. I deeply appreciate your respectful attempt at having equanimity and reviewing the play on its own terms. However, there are aspects of this play that probably don't land the same in London. Our particular, awful history with enslavement as an economic institution that formed a backbone to this country's economy is a deeply American pathology. It really was like a virus that infected us, to borrow the words that the character at the end of the play says out of sorrow and rage. Plantations really do feel like haunted places. Especially the ones whose structures remain in the South. Consider that these sites are sometimes used as wedding venues for white people - how revolting is that? That's just one example of how the play directly confronts the legacy of this institution. But I don't even think it is only about that, or enslavement is the antagonist of the play per se. I think the Carry On reference - which I understand minimally but I imagine you are saying that the sketch comedy aspect feels broad and silly like something called Carry On - is apt. However, I think there is quite a bit more encoded into the seeming humor and whimsy. As another example of the layers this play is operating on and peeping back: the Black characters play surreal versions of harmful Black stereotypes that began during enslavement. These are numerous, and American audiences recognize them right away as integral to our cultural identity. Though they are consigned to the dustbin of history now, it really wasn't that long ago that these stereotypes carried violent weight. My grandparents' generation grew up with the colloquial saying, "Eeny, meeny, mynie, mo/catch a ____ by his toe/if he hollers, let him go" I'm sure you can imagine the word that goes into the blank, which I could never bring myself to say because it's so horrifying and destructive. But I'm sure you can deduce what it is from the topic at hand. When this play came out in 2019 on Broadway, white audiences - even supposed liberals - were getting overheated and angry enough that some of them would scream and yell during the talkbacks. It was the show that introduced "Blackout nights," where people of color could attend the show among their peers without the intrusion of the White gaze. (Which is something Slave Play addresses - the White gaze - hence the mirror, in case you were wondering why there's a mirror.) In our country, states are making it illegal to tell the truth about the brutality of enslavement as a racist system of exploitation and appropriation and commodification of the Black body. Even though the public records available in our country will tell us how brutal this system was. In the town in Massachusetts where the farm/plantation was that housed many enslaved people in the years prior to Massachusetts abolishing enslavement, there are public records that list Black/African people as simply property. You can see evidence of these human beings being sold. And bounties being placed on them when they attempted to flee to freedom. This was in Massachusetts, a supposed liberal bastion. And there is another thing that probably won't register for an audience member who doesn't identify as "Queer" or as a member of the LGBTQ+ communities: this play was written by a Black, queer-identifying person whose intersectional identities in both categories are doubly marginalized in this country. Even now, Black queer people in the US are murdered - just for being themselves and existing in public space. That is part of the reason the Rihanna - not Beyonce - song "Work" is heard in the show. Jeremy O Harris is making a point about the amount of unasked-for labor people with multiply marginalized identities have to carry in this country. That exploitative model is in part due to the legacy of enslavement. If you've read a Faulkner novel about these overall subjects, this play is a bit of an offspring of the ideas contained in those books. I'll end for now by pointing out: if you want to know just how personal this play is to the US context, a direct example from a current political figure is how white children were afraid to play with Kamala Harris when she was growing up in California. The legacy of this vile institution of enslavement is hundreds of years in the making, and it is America's Original Sin. (Though colonialism/Other-ing/xenophobia are not unique to the US, of course ...) I hope you find these thoughts useful to your consideration of the play.

The song "WORK" used in Act One is sung by Rihanna, not Beyonce.

Hi Paul I have been waiting with baited breath for 10 days now for you to review Slave Play. I did a potted review for SeatPlan: "Nowhere near as shocking as the publicity has been making out. The first part is odd and often amusing; the middle section is often laugh-out-loud funny, with moments of fury and drama, and the sort of revelatory speeches that only people in plays make. The final section, the one everyone has been talking about, is a bit disturbing, it's true. Great performances all round." How I wish, wish, wish that I'd thought of the Carry On connection. I mean, Annie McNamara was playing it so broad you could imagine Hattie Jacques there in her pantaloons, and Aaron Heffernan's expressions in the first act, particularly when he was being, um, pleasured, had the audience in hysterics. Bernard Bresslaw, maybe? Kit Harrington's look of perpetual annoyance in the second act was great, even tough he rarely said a word. (I was in Stalls Row C, I could see every twitch of his eyebrow}. James Cusati-Moyer was so funny in the middle act - Kenneth Williams? - with his 'I am an ACTOR!' (I think that was what he said, something like that.) And literally no one has brought up the fact that James looks exactly like Andy Murray, which I found most disconcerting. Are we sure it wasn't Andy? No wonder he had a tough time at Wimbledon. All the cast was good, except maybe Olivia Washington. There's a lot of her father in her face and voice, but she never quite clicked with me as a real person. As I say, I was quite close and due to the staging Olivia and Kit were right in front of me and she always seemed detached, never really looking at anyone. Perhaps that was deliberate and I didn't catch why. And that speech at the end just went on and on and on. And then you thought it was over because Kit was curled up crying, but no, on and on and on it went. You clearly had a much better view of that scene than I did, because it was so dark I couldn't see anything. Not that I was looking, you understand. The sticker over the camera lens was pointless, any picture I took would have been just darkness. "Hold still, Kit, need to take a long exposure!" Oo-er, Missus! And it wasn't until almost the end that I noticed they'd angled one of those mirrors so we could see the rear guard action of the Night's Watch in all its glory. Needless to say, I disagree with the other commenter, the one who took you to task. There's no need to apologise for calling it a Carry On. As you say, for the first act and much of the second, it was clearly a farce - people coming in and out (ooh, Matron!) of doors in various states of undress and orgiastic conjunction, what else could it be? If it wasn't written that way, that's how it was staged and played. It WAS a bit too long in the middle. The scene at the end was weird. And of course the fact we're British affects our view of this whole subject because our history is different. Confronting slavery also means acknowledging the moral crusade that Britain and other European countries led in stopping the Atlantic slave trade. Anywho, I've written a lot as always but it was an interesting and thought-provoking experience, not at all what I was expecting - but, in my humble opinion, nowhere near as important as it believes itself to be.

Thank you for your comments. I accept the Carry On genre may not have been the best analogy but I maintain that Mr Harris deliberately made the first act farce-like by his use of fake Southern accents, stilted dialogue and over-the-top sexual encounters. The result is very funny and sets up the latter part of the play which pulls the early scenes apart. I certainly wasn’t intending to belittle his achievement. I stand by my view that the middle act is too long. You’re right that I could have given more praise to the direction which is exemplary, but I did think I had made clear how good the actors are. If I didn’t, let me say now, all of them give powerful performances. I absolutely agree we should confront both Britain’s part in colonialism and slavery, and its consequences, but I think it’s possible we come at it differently because slavery wasn’t practised in this country.

"Slave Play" is in no way at any moment a "Carry On" romp. That's insulting and belittles Jeremy O' Harris' carefully crafted comic/satiric writing. "Carry On" is farce. This is nothing of the kind. Otherwise, your review is perhaps fair enough and I have no doubt it's honest. You didn't have a revelatory experience. Okay. But because you didn't feel the sting doesn't mean it isn't there. You ought to acknowledge as much. And being British is no acceptable escape clause for confronting the realities and enduring consequences of slavery and colonialism -- oppression under differing parameters is dehumanizing, nonetheless. You also don't credit the direction or the acting in enough detail. I saw "Slave Play" twice in New York and it was remarkably well done. Its achievements deserved more respect from you.

Hi Paul I hadn't seen this review until RUclips suggested it to me. So a quick thought - I completely agree, this was a great production and Sophie is an absolute powerhouse. I'd seen her before, in Antony and Cleopatra at the Olivier, but I was a fair way from the stage then. To see that intensity up close was really something special. I must admit I didn't know the story that well. I remember we were shown the film with Maria Callas, as school, for O-Level English, maybe? It was all a bit confusing for most people. I wrote a little review of it for my teacher. I still remember the line: "Maria Callas spends much of the time wandering round the desert contemplating terrible acts of revenge; one must assume she was given the part because her name so closely resembles 'callous'."

YES! I agree with almost everything you so articulately said. A great play performed and designed by superb professionals. However, I personally got emotionally involved at several moments. When the stage turns to show--for the only time--a space full of let-go employees, each carrying his box of belongings--whew! Götterdämmerung! Looking forward to more of your reviews. Thank you.

Just watched Nye in Lancaster 29th of June 24, with lump in throat. It was fantastic, and right after it finished, someone behind me shouted "don't forget to vote Labour on Thursday!" to applause.

I've seen this twice Once at the kiln and last month at the Criterion. Absolutely phenomenal from Sam and Dujonna. My favourite show at the moment. Sam nails the comedy. I intend to see this a fair few more times too, hopefully will get to see how Tanasha and Ellis play the roles too some time as the understudies.

I remembered this from growing up to the tv series, saw it at the National a few weeks ago, I thought some of the set movement was unnecessary and temporarily took me out of the play, I agree that the death scene brings an emotional impact and connection, the comedic scene brilliantly on point, it was good but not great, prescient to today as it was in the 80’s in the disparity of mental health and wealth inequality.

I’m glad you liked my review. You’re right about the songs- I wish I’d said a bit more about them.

It is the testament to the quality of this production that I managed to ignore a massive cramp in my leg for a better part of the show.

Great video. I thought it was a great play. Something I really enjoyed was the use of singing, it felt a lot better woven in that in London Tide. I agree that Yosser (if that’s how you spell it) was a particularly strong performance.

At last, an intelligent, incisive and knowledgeable theatre critic. Just seen Underdog at Northern Stage. Please review more and more shows,,,,,

Just got back from seeing this as part of NT Live. Very powerful production and excellent acting all round. Thanks for taking the time to put together this review.

Ha, cute lyrics, I don’t remember any of the music - came away disappointed

I loved the book, but won't be seeing this. I had no idea they were using film in it! Having loved the book I just can't see how it transfers to the stage which put me off.

Lovely review! I saw Nye at the Wales Millennium Centre when it opened there about a week ago and agree with everything you said wholeheartedly. I particularly loved the library scene and the musical number. Michael Sheen is, at least in my opinion, the most exceptional actor of our time. By the end there really wasn't a dry eye in the house and everyone was on their feet, cheering and clapping. Best night at the threatre I've had so far.

I saw Nye here in Cardiff yesterday. It was the first time for a long time that I left a piece of theatre in tears.

Do you know if this production was filmed for NT Live? Will the production be streaming on NT at home?

I just read the Power Broker-but I can't seem to find anywhere to watch this play!

Would u say it’s just for kids or is there stuff for adults as well to enjoy

A very insightful review, totally agree! The exhibition at Tate Modern sounds fantastic too.

Jack Davenport ❤

I was there! Within the space of a week I saw the Hamlet production, and then Alec Guinness - superb as Dylan Thomas - in ‘Dylan’!

Saw it last night and thought that was a great and fair review. Like you I think the other sniffier reviews criticise it for something it doesn't claim to be. And no, you weren't the only one with a tear in their eye at the end.

You shouldnt be expected to pay a huge price if one of the big name actor drops out midway the production. At least cut the ticket prices as for the replacement.

The play moved my Head but not my Heart. I give it 3.5 stars our of 5. The two supporting actors played too many parts. I wanted to see an older woman play John Halder's mother suffering from dementia, but I was subjected to an actress in her early 40's play the role.

Theatre by the elite for the elite. The same old dusty stale actors. Why dont they address the genocide in Gaza, if they want to talk about war

This production was great fun!! I loved it. Great review too, thank you :)

Love this video! Thank you so much 🫶🏻

Such an articulate and concise review, I really enjoyed. I've already got tickets to this play for May and this made me so excited to see it!

A bit difficult to get around to seeing this sort of thing in the sticks .I only heard about it in the paper when it had finished.Even my local cinema played it and pouf!! it was gone before I took it in.Someone said I could view it via the NT website.

Oh please shut up

Great review, wish I could see the play. 🥺

This review is full of spoilers.

Michael Sheen keeps upwards from strength to strength - incredible. I can never get to see these productions so have to live them through reviews until their recordings are available...though it's not the same as being there. How many of us wouldn't be alive now if Nye hadn't fought for services to ensure our lives? Interesting that one of the architects of the r*pe of the NHS was Tony Blair, also once played by Sheen.

I'm sure it's an amazing production. I hope to see a recording of it on a streaming platform. National Theatre though have got to get their act together with regards to their racism. In recent productions they've cast some very inferior actors due to their racist attitudes...nothing justifies that. I remember over 40 years ago Equity being very involved with stopping racism, but what was the point if the NT now revisiting those old times? From what I can see of the casting in this it looks like they're still up to their retro attitudes.

Are there disabled facilities at the Bridge theatre