Originally staged in 2018 off-Broadway, fast forward to 2024, Slave Play is making its international debut in London, after hot off its record breaking 12 Tony Awards nominations. Jeremy O. Harris’s show opened on Broadway to polarising reviews and it seems to be doing the same across the pond. Dividing audiences and the British media for its narrative and use of ‘Black out nights, which I think is a fresh of breath air for all theatre. I decided to go into the theatre blind, not knowing anything of the story, so I will try my best to not spoil this for future audience members, as I believe people should experience shows for themselves therefore, creating their own opinion.

The complex narrative is about three interracial couples who are seeking help in their relationships by trying an experimental form of therapy called ‘antebellum sex therapy’; this includes a form of role-play that transports us back to southern America, where slavery is the social norm. Each couple uses a different scenario involving a slavery dynamic to boost their sexual performance. There is use of thick southern accents, leather whips, hay bales, boot-licking and over the top clichés/stereotypes. This intense exploration into sexual gratification is uncomfortable to watch which suggests there is something more at play.

Jeremy O.Harris openly explores and dissects themes of race, identity, sexuality and trauma and the affect these have on individuals as well as relationships- consciously or subconsciously. Highlighted in the first part of the play, which is unapologetically explicit in its sexual nature; with each character adopting a persona; which at times switches the power balance between genders. While at times I felt uncomfortable, I believe this to be a good thing, theatre is meant to challenge your ideals and most importantly feel something. Which is what I think O.Harris intended to do, as he has openly stated that no one should try “make the audience feel comfortable”. Even though everyone is watching the same story, I think each audience member that come to watch it will have a completely different experience. Whether you hate it or love it, you can’t deny the importance of this play, as a conversation starter. The second half of the play offers a slower pace to each character’s interaction; opening up to the idea, listening is not hearing. We’re given a more stable staging in the second half, as opposed to the clunky sliding set pieces which burst out of the mirrored doors like a dolls house. Reaching to peak intensity, which at points are rather uncomfortable – they’re abruptly stopped by Kit Harrington’s Jim. After this interruption we’re shifted to a calmer scene, a semi-circle of chairs. To me this represents a trust circle, as we welcome back all the couples who attempt to process and dissect what they all went through and what we all just witnessed. This openness in the staging, leaves each actor in the hot seat, as there is nowhere for them to hide. It is during the second part where I could really grasp the heavier issues being discussed and understand the characters intentions and true emotions. That being said, the show does have its comedic moments, mostly by the incomparable Annie McNamara (Alana).

The ensemble heavy, yet small company are all outstanding in treating each of their roles with honesty, integrity and sublime performances. Granted the most notable star of the show is Kit Harrington, who gives a complex performance, going from level-headed to dark and sinister, resulting in an extremely distressing scene. His wife is expertly played by Olivia Washington (Kaneisha) whose grounded performance, is subtly yet powerful. Fisayo Akinade (Gary) and James Cusati-Moyer (Dustin) beautifully portray a couple with a lack of communication, resulting in an explosive speech from Gary’s about the issues with reciprocity in their relationship. But the standout performance of the night was from Aaron Heffernan (Phillip) who clueless, puppy like characterisation is light hearted, often used for comedic relief. However, during the second half, his surprising outburst regarding growing up mixed heritage in a predominantly white town all the more poignant. Heffernan’s raw performance showed the struggles people of colour face growing up in society and how racism is tolerated or laughed off to not make the offender feel uncomfortable and to not make a scene – which it shouldn’t.

Slave Play is shocking and pushes boundaries, but for all the right reasons. I would highly recommend this play, but don’t watch it without looking at the trigger warnings beforehand. I can’t stress enough the importance of welcoming more theatre which leaves the audience uncomfortable, challenges the social norms and most importantly still thinking about the story days after watching!

Slave Play is now playing at the Noël Coward Theatre until 21 September.

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