Review: In Her Eyes I’m a Good Man, Theatre Peckham

In Her Eyes I’m a Good Man, is a highly anticipated production by the writer and director Mo Korede. The production begins almost 30 minutes late, without any reason being given.  As we file in, we are given the option of wristbands; green, ready to party, orange, leave me be. The excitement of the crowd, rapidly buoyed by the exuberant Mo Bangura and Zainab Lawal (ensemble), is electric.  Excellent music from Sound Designer Arianna Muñoz,  and DJ Composers RUSH:HOUR and Bridget Ekelectic, creating a party atmosphere.

This production is a loving testament, presenting a series of tableaus reflecting Korede’s treasured friendship with Hannah Akonmikun Balogun, who passed away recently. He speaks briefly, achingly, of this friendship as he introduces his current work In Her Eyes I’m a Good Man.

Korede’s appreciation for the start that Theatre Peckham has afforded him in his creative career is paid forward generously. Each performance of In Her Eyes I’m a Good Man is preceded by a short scene from a new, upcoming Global Majority writer. These plays will be part of Theatre Peckham’s commitment to future talent in the coming 12-18 months.

The set design and costuming (Phyllys Egharevba) is reminiscent of street parties in the Caribbean and across the African diaspora. Street clothing, individually styled, piled crates, and large speakers set the scene. The palpating music includes Afrobeats, Caribbean carnival, Dancehall and smooth tunes from multiple eras.  We join in, adding volume and passion, serenading in softer moments.  Such is the music volume that often the words are lost. Similarly, there are times where shouting into microphones becomes distorted and unintelligible.

Actors use numerous entrances and exits. Scenes being performed from within the distant upper seats of the audience, cause most of us to crane and twist in an effort to experience each utterance, often feeling as though we are missing pivotal moments. Imaginative use was made of technology; the ubiquitous use of cell phones, rapid, intrusive messaging, and the impact to relationships of sharing and hiding. During the production, some exchanges are projected. These need to stay on the screen a little longer. With so much to command the senses both visually and aurally, time is needed to read each exchange. 

One of the many joys of Global Majority productions, is the expectation of audience interaction.  Audible gasps, cries of indignation, and loud appreciation of this talented cast punctuate the evening.  There are many interactions of call and response interludes with the audience. Audience members participate fully in a dance hall scene, with orange band wearers remaining safely in their seats. Later a dance battle, with audience representation enthrals, continuing to raise energy levels and sustain both vocal and physical participation from us all. 

Seyi Falas (Jay) and Victoria Nwaesei (Kay) interact eloquently both in speech and motion. They convey such warmth and care for one another; they inhabit their characters with ease and familiarity, through banter, song and family contexts. The multitude of roles played by the ensemble is impressive (Bangura and Lawal). The cast embody contexts and dynamics including familial expectations and friendships, with emotions from envy, to love and festivity.

There’s a poignancy to the entire production, with the awareness of loss, the understandable associated grief, and yet provides a consummate love letter to a deep and enduring friendship.  ‘How’s your heart?’, mine is tenderly overwhelmed. 

Written and Directed by Mo Korede
Assistant Direction by Effie Ansah
Produced by Mya Onwugbonu for Imagiphoria Productions
Executive Production by Shane Afolabi
Project Management by Bashiie Baptiste
Movement Direction by Yemurai Zvaraya
Sound Design by Arianna Muñoz
DJ Composer RUSH:HOUR
DJ Composer Bridget Ekelectic
Lighting Design by Jahmiko Marshall
Set/Costume Design by Phyllys Egharevba
Stage Management by Janhavi Shivalkar

In Her Eyes I’m a Good Man plays at Theatre Peckham until Friday 23 October