Extra!_Extra!_Theatre_Review_M_Couzens_The_Glass_Harder_They_Come_Barbican_Theatre

Produced and Directed by Perry Henzell
and
Co-written with Trevor Rhone

This musical, for lack of a more definitive way of describing it, is one of the most ambitious, energetic and defiantly successful evenings of theatre that I’ve enjoyed for some time. I say defiantly because it triumphs over all of the odds against it, and works beautifully.

In the early, pre Bob Marley seventies, ‘Country boy’ Ivan heads for the bright lights of Kingston, Jamaica to pursue his dream of becoming a reggae star. Before he can even think of reaching for his goal, he must face the trials that poverty and displacement bring.

Ivan (Rolan Bell) struggles to find his place, as Elsa ( Joanna Francis) assists him

Elsa, the preacher’s ward, becomes Ivan’s companion, though not his partner in crime, as he turns to ‘ganja’ (marijuana) dealing in order to fund his dreams. He’s arrived in the city at a time when people are tired of living under a reign of police brutality and corruption and are looking for ways to take a stand against it. Little does he realise that he is just the one to compose an anthem for their cause, which will inadvertently introduce the wider world to reggae music.

For myself and those seated around me, the ‘show’ began before it actually started onstage when a fellow dressed like a guard excused himself, moving past me to scold the women behind me in choppy Jamaican dialect, the gist of which was, ‘you behave yourself now,’ to their obvious amusement, as they gleefully taunted him back. Onstage, one of the actresses milling around the ‘dancehall’ appeared to recognise someone in the front row, greeting them in delight. Throughout the course of the show, characters unexpectedly appear in balconies and aisles, interacting with those onstage creating (and sustaining) a feeling that their ‘world’ includes the space the audience occupies. Characters never move out of character, as evidenced by the males grouping together to watch a spaghetti Western projected on the back wall of the set while the audience take their recommended ‘fifteen minute ganja break’.

Clarity may be a momentary problem at outset of the show, as the actors speak in Jamaican ‘Patwa’ (or Patois) language, just as they did in the 1972 cult film of The Harder They Come. The dialect features clipped sentences like: ‘Me no be doin’ dat’ thing,’ spoken very rapidly. However, once the ear becomes acclimatised to the loosely strung, fluid lingo of the characters, it’s very easy to get drawn into the action of the show, to the point where you never want it to end! Their way of speaking is absolutely integral to the authenticity of Henzall’s thoroughly Jamaican work. Those in the audience, who were already familiar with the colloquialisms being used, often roared with laughter and/or called out when the actors made a point that hit home, adding to the feeling that the audience was indeed, an integral part of the proceedings.

The show's set design is all the more effective for its simplicity: yellow brick walls, bright green curtains above and dark red floor – the colours of Jamaica incorporated into a dancehall setting. A live reggae band fires the crowd up before, during and after the show with the film’s string of high-octane ‘greatest hits’ roots reggae classics, such as ‘007 (Shanty Town)’, ‘By the Rivers of Babylon’, ‘Pressure Drop’, ‘Wonderful World, Beautiful People’, ‘You Can Get It If You Really Want’ and many others, the obvious favourite among them being the title song, written by reggae star Jimmy Cliff, who also starred in the 1972 film.

Speaking of stars, there are a whole cluster of them in this rollicking show, most notably, lead actor Rolan Bell as country, turned rude boy Ivan and Joanna Francis as his initially hesitant, deliriously falling girlfriend Elsa.

Bell and Francis were the originators of their roles in the first Theatre Royal Stratford East production, and also revised their characters in the follow up run to the show’s sell out premiere in 2006 in that theatre. In this larger scale revival, the pair seem as though they are breathing and thinking their roles and it’s delightful to watch them. It’s also wonderful to listen to them, as both performers possess singing voices of amazing range and diversity of style, which is fortunate, as the main thrust of the show is carried along through its songs. Victor Romero Evans is also great as Pedro, the local Rasta man/ganja seller. When it’s his turn to sing, his voice is as soft and warm as a summer breeze, but twice as soulful. The two divas of the dancehall scene, aptly named Pinky and Precious, are played with great frivolity and funkiness by Susan Lawson-Reynolds and Neisha-yen Jones who gyrate as if their mojos have slipped into non-stop overdrive. Choreographer Jackie Guy has done a feat in getting feet and assorted other body parts popping and percolating, incorporating each character’s attributes and quirks into their movements in the process, in order to enhance their own personal interpretation of the show’s themes, a la ‘You Can Get It If You Really Want.’ Guy’s steps handily dance rings around the manoeuvres found in most West End shows. As a testament to that, the entire cast dance, and act with a drive and enthusiasm, not to mention, talent that is nothing short of totally infectious! Ensemble singing numbers involving the entire cast are also soul-stirring and vary from soaring gospel renditions to buoyant reggae.

Directors Kerry Mitchell and Dawn Reid deserves high commendation for keeping their actors ‘real’, as the show's original creator and director, the late, great Perry Henzall would have wanted. When this show, inevitably reaches ports of call beyond the Barbican, such as London’s West End, New York and elsewhere, reaching as wide an audience as possible, as it should, hopefully, its present cast, band, directors and choreographer will go with it, as it’s difficult to imagine any other individuals acting in their roles more effectively, or, admirably.

At the conclusion of the show, after the band and cast had taken several, rather astonished bows in response to their standing ovations, and performed a couple of sparkling encores, leading man, Rolan Bell paid a moving tribute to the show’s writer/director Percy Henzall, who, sadly, passed away in November, 2006. For native Jamaican Henzall, who’s seminal, ground-breaking film, The Harder They Come inspired an ever-expanding appreciation of reggae music in its wake, championing his passionate cause had been at the heart of his life’s work. As my companion and I happily danced to one last, spontaneous version of the show’s title song, among a similarly occupied audience made up of every type and age of person, from teen to pensioner, it was understood that the one thing we all shared was the music in our souls.

Susan Lawson-Reynolds (Pinkie), Rolan Bell (Ivan) & Neisha-yen Jones (Precious) get down

Performance time: 19:45 (also 14:30 8 15 22 29 Mar 2 5 April and 19:15 11 Mar)

Age guidance 12+
Contains some strong language

Signed performance 22 Mar 14:30
Captioned performance 29 Mar 14:30

Post Show Talk 18 Mar

2 Apr 14:30
All tickets £5