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A car factory in Detroit stands as a mere skeleton of what it once was due to layoffs. Four remaining workers navigate this change. Summary
Rating
Excellent
Set in the middle of the 2008 financial crash, Faye (Pamela Nomvete), Reggie (Tobi Bamtefa), Shanita (Racheal Ofori) and Dez (Branden Cook) are some of the last remaining workers in a car factory in Detroit. Because of the intimate space of the Donmar Warehouse, it feels like we’re sitting inside the staff room with them, eavesdropping on their conversations. The set, designed by Ultz, transports us to a dingy staff room equipped with a tired looking sofa, lockers, a coffee machine and fridge.
Dominique Morisseau’s writing portrays the experiences of Black American working-class individuals with depth and nuance, whilst Matthew Xia’s direction brings these characters to life, as he carefully balances the despair and hope within the script. Ideas and themes are carefully introduced, with explanations unfolding gradually, to cleverly draw in the viewer. Items that the characters pick up or refer to casually in conversation often have deeper meaning, which is eventually revealed. These details engage the audience, compelling them to pay attention, and the actors’ use of the space solidifies the storytelling. Subtle, yet noticeable details of the set raise questions about the crew’s intentions. For instance, Dez is the only crew member to lock his locker with a hefty padlock (the reason behind this is explained in a tense scene just before the interval).
The play explores themes of loyalty within the workforce. As the foreman, Reggie is put in a difficult position. He tries to maintain a close relationships with his colleagues, protecting them from exploitation but he also wants to secure his own job for when the factory eventually shuts down, and Bamtefa plays this indecisiveness with intensity, constantly wiping his brow with a napkin.
In one particular scene, Reggie and Faye discuss their past history and their uncertain future. Desperation is manifested in the voices and anguished expressions of Nomvete and Bamtefa, who work outstandingly together. This moment of despair and struggle contrasts starkly with Shanita and Dez’s scene of hope and optimism. It is remarkable that this is Cook’s professional stage debut: he acts with control and as if with years of experience. Ofori is equally impressive, playing Shanita with a slight naivety when she tries to convince her colleagues that the factory will remain open.
The striking lighting, designed by Ciarán Cunningham, adds to the tension and anticipation. Between scenes, the theatre is plunged into total darkness before flashes of light and pulsating music jolt the audience’s senses.
The four crew members represent the bare bones of the factory workforce. Along with a few others we don’t see on stage, they form the minimum number of people required to ensure production continues. With wealth disparity and the exploitation of workers still persisting sixteen years after the play was set, these themes are sadly very relevant today. The subtleties of Skeleton Crew are intriguing. The way the set reinforces the text to build tension is unique. This play is a slow burner, but the payoff is worth it.
Written by: Dominique Morisseau
Directed by Matthew Xia
Designed by: Ultz
Lighting design by: Ciarán Cunningham
Composer and sound design by: Nicola T. Chang
Skeleton Crew plays at the Donmar Warehouse until 24 August. Further information and tickets can be found here.
