by Luisa De la Concha Montes
That is an progressive play that presents the true historical past of Henrietta Lacks, a Black lady whose most cancers cells have been used to create the primary immortalised human cell line. It opens with a rhythmic, spoken-word monologue delivered by Henrietta (Aminita Francis). We quickly be taught that her DNA, nicknamed by herself as “Did Not Ask”, was non-consensually taken from her physique in 1951. It has since served as the important thing foundation for medical analysis, together with the event of HIV vaccines, investigation of most cancers cells and extra just lately, the COVID vaccine.
We’re then launched to a few supporting characters, Ain (Mofetoluwa Akande), Bibi (Keziah Joseph) and Lyn (Aimée Powell), who work within the NHS in the course of the pandemic. This intelligent bounce between previous and current exposes the hyperlinks between racism and medical analysis, opening our eyes to a narrative that, regardless of being broadly untold, is extra related than ever – as it’s the foundation upon which present energy constructions are constructed and maintained. The script makes use of daring comedy and modern references to have interaction with the viewers, and it does so with out shying away from controversy, which is kind of refreshing. As an illustration, in a single scene, Ain overtly condemns white girls for his or her sufferer angle. In a single sweeping motion, she takes two spray bottles and imitates their dramatic crying, triggering roaring laughter from the viewers. This straightforward scene successfully demonstrates how this isn’t a play catering to white guilt or white fragility. Fairly the other, it’s a Black story for Black audiences; it thrives on particular cultural references, and on its celebration of Black pleasure.
One of the attention-grabbing components of the play is the stage design, which serves two functions. Firstly, it transports us to a fictional threshold between Heaven and Hell, a spot the place misrepresented characters reminiscent of Henrietta and the nurses can lastly inform their story. Secondly, it references a previous with bushes, soil and stones the place nature was first and humanity second. This idea can also be explored by the sound design, which subtly implements signing birds and sounds of nature when Henrietta talks.
This framing is intentional, because it brings the idea of environmental concern to the fore. The script swiftly connects ideas of bodily autonomy with extractivism, exhibiting how Henrietta Lacks’ medical historical past is simply one of many many examples the place violence is normalised and even embraced.
As an illustration, midway by the play, Ain, Bibi, and Lyn change into Anarcha, Bestey and Lucy, three girls which might be being experimented on in the course of the late 1800s by Dr. Sims, the “father” of gynaecology who typically operated on enslaved Black girls with out anaesthesia. The solid’s excellent performing – right here together with the adopting of recent accents and physique languages – permits for a clean transition between characters. This helps the viewers to geographically and chronologically journey with them, seeing the prevailing dualities between Black lives then and now, creating a fancy image on the historical past of othering. Finally, this format demonstrates the hyperlinks between slavery, police brutality and the mistreatment of Black our bodies, confronting how life after segregation nonetheless upholds white supremacy.
Toni Morrison is referenced all through the play, creating an alternate worldview the place horror is used to show the threads of historical past the place Black lives have been handled as disposable. As an illustration, there’s a recurring character, the Smoking Man (Alistair Corridor), who sporadically comes on and off stage with out saying a phrase. His presence, each eerie and imposing, serves as a stark reminder of the facility threads transferring behind the scenes, affecting the lives of the characters on stage. His look is at all times signified by a sluggish Western track, enveloping the room in a way of hazard.
Typically, the so-called Black narratives find yourself catering to a white viewers. Afraid of offending, they centre the receiving finish, typically adopting the white gaze because the area the place the battle is witnessed. Household Tree does the other; it shines a light-weight on the Black expertise, deeply exploring the struggles, wishes and wonder of every character and honouring the lives misplaced. All in all, Household Tree shines a light-weight on a narrative that has been screaming to be heard for too lengthy.
Household Tree runs by 23 April.
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