Theatre Review-The Architect

Llewella Gideon as The Conductress in The Architect. Image Credit: David Levene

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This play is not directly about Stephen Lawrence - who was murdered thirty years ago – but it explores the themes of motherhood, love, racism, and the treatment of Black people in the United Kingdom over the course of several decades. It is a production created with the support of the Stephen Lawrence Day Foundation and is an immersive experience (prepare for just under 90 minutes of being on a bus) about a 48-year-old Londoner of Caribbean heritage who has fulfilled his life-long dream of becoming a builder of cities, a maker of dreams.

The pre-show entertainment depicting two young Black men sitting on a bench, where they play off each other, create jokes about girls, parties and generally have a good time boogying (the ‘Running Man’ street dance move provides lots of laughter) for the poised crowd of audience members ready to board the ‘One Two Two’ bus.

When we eventually do hop on the bus – greeted warmly by our Emcee and conductor played boisterously by Llewella Gideon – one wonders whether sitting at the very back of the bottom deck as a good idea (spoiler: it wasn’t). However, the action soon unfolds I’m fanning away, engrossed in the snippets of scenes performed. We initially get one involving two lovers and both Daniella Kassarate and Daniel Ward sparkle in these. Following this, we’ve a mother and niece played by Doreen Blackstock and Shayde Sinclair. I enjoyed seeing these scenes play out, and they provided a great starting point for where the play goes to thematically. It’s a humane portrayal of Black lives, and the ordinariness of people wanting to get on with life, and those who want to achieve their dreams. The comedy shines throughout and Llewella Gideon’s “Squeeze in your buttocks” lines garnered many laughs, as we darted around South-east London: an area I’m not overly familiar with.

The Architect, directed by Matthew Xia. Image Credit: David Levene

The play takes a turn when we enter the area of Eltham, and the overplay of audio sounds voice the concerns of white residents who take umbrage with the simple act of a handshake (“shake hands with the right”) can cause unfathomable rage for the Britishers who are unable to accept change of ethnic diversity in areas. These were somewhat uncomfortable to hear as we passed houses adorned with Union Jack flags. It’s a reminder that how in 2023, there’s still a reluctance for people to walk into areas where they may well be the target of racial abuse. In a sense, there was a reclamation of the fact that all the land in our city (and our country, for that matter) should be for everyone to feel safe in. The fact that a bus with ‘The Architect’ emblazoned on it really does keep the memory of Stephen alive.

We’re then the action moves to an emotional scene whereby the bus passes the spot where the memorial for Stephen Lawrence is laid, with two volunteers who hold a candle to mark their respects. We were later told that there were also volunteers from the running club he was part of who run alongside the bus for a short distance. It’s the small touches that make this a poignant watch, and an even more wholesome viewing experience.

What was the most impressive in this production was the fact that the timings really worked. Although my slight issue with the sound at time(it was hard to hear when there was a scene being played on the upper deck simultaneously), the slickness by the entire team in terms oof the logistics involved for it to be showcased has to be commended. The team worked very hard to make everything feel smooth for the audience, and that was re-assuring to watch as it could have gone very terribly wrong.

If you’re looking for a piece to enlighten you on the world, given if you’re shy of melanated friends in the world: then this is a must-watch. For those who are already awake to the injustices, this will again reiterate the need to change the way that the race intersects with society in the UK; it’s a play that stylistically has met its aims to provide and share how a mother’s love for her son can mean the world. And to me, that is a universal experience that makes the piece resonate with many.

It culminates with an impassioned speech by the son in Woolwich’s General Gordon Square (which I should add, is a free complimentary experience as the show is – at the time of publication - sold out), and we’re left viewing the arresting image of Stephen against a backdrop of an architect’s drawing board.

As the world is  yet currently ablaze with many dismissing the reality and lived experiences of people of colour, the violence is still continuing to this day; we must, and always remember those lost to ensure murders of the type never happens again. We will remember our collective history of people of colour in the UK, and this is show is a testament to the fact it can be done with compelling and innovative mediums.