Little Brother adapted by Timberlake Wertenbaker - ★★★★☆
The love reserved for one's sibling is given a name in many African cultures. Terms of endearment reserved only for the people you shared a womb with, or often the people who serve a similar role. In it, one finds an identity, and Ibrahima (Blair Gyabaah), the protagonist of Little Brother, wears his with pride. He is Koto, to his siblings, his little brother to him is Miñan and it is his love for him that drives this very story. Based on the heartwrenching memoir by Ibrahima Balde and adapted by Timberlake Wertenbaker, who braves a world unknown and unkind to him, Little Brother tells a story of courage, resilience and individuality.
There's a sad irony in the events leading up to the premiere of Balde's first play. Due to the disappointing and unacceptable decision made by the UK home office to refuse Balde’s visa application, to attend the premiere in London. It’s incidents such as these that make plays like Little Brother so pertinent and necessary. The lives of immigrants, refugees and asylum seekers are often completely disregarded by those in power, and their voices swallowed. Balde’s story dares to challenge this.
Based on the memoir written by Balde and renowned poet Amets Arzallus Antia (Youness Bouzinab), Little Brother at Jermyn Street Theatre starts with these two men, the latter laying out the foundation of the journey we are about to embark on. We meet Ibrahima at the tail end of it, and set against a backdrop of red walls and floors, paintings of West African architecture dotted across Natalie Johnson’s set, to take us to a bustling small town in Guinea. Ibrahima is the eldest child of his parents, and following the tragedy and setbacks brought on by his parents’ ill health he takes on the brunt of financial responsibilities for his family. His younger brother Alhassane, seeing this, decides to try and take up his own mantel and departs for Europe, with the aim of helping his family. Ibrahima sees no other choice but to go after him, and it’s in this personal odyssey we watch him live out the reality of life as a migrant, a refugee and someone try to find home when he is far from his own.
The cast made up of Bouzinab, Mo Sesay and Whitney Kehinde, and Ivan Oyik play a melting pot of characters, ranging from Ibrahima’s beloved parents whose identities are skewed slightly by his memories, the friends he found in Algeria, a lorry driver who adopts him into his family in Liberia and his captors in Libya. Each member of the cast riffs harmoniously with Gyabaah, with Oyik as Alhassanne in particular creating an easy and fluid dynamic with Ibrahima. Directed by Stella Powell-Jones, each new city Ibrahima finds himself in has a character and air of its own, evident in each character and distinguished by Max Pappenheim’s sound design.
Ibrahima's journey into manhood becomes intertwined with his changing views of the world, of people and himself. He becomes a victim of human trafficking and violence which is heartbreaking to watch. A sunny, joyful spirit despite an already difficult childhood, we see him become subdued and introverted, making a powerful display of what can happen to a person whose life is regarded as inferior by governments and official powers. Some things, however, remain the same: he governs his life by adhering to three rules. The rules change, but the sentiment stays the same and serves as a warm motif throughout the show. Gyaabaah plays this with charm and flair, managing to maintain the heart of Ibrahima’s character throughout.
As an adaptation, Little Brother is not always perfect. Watching the show, the nature of the dialogue feels unsuited to performance, despite being perfect in written form. Initially feeling stilted and confusing, as the play develops, it becomes easier to digest and then becomes a brilliant watch. It is a moving, and truly memorable story, arguably polarising a performance piece, but still powerful and worthwhile.
Despite his horrific treatment from the UK’s Home Office and missing its premiere, it has been confirmed that Balde will be able to see Little Brother and witness his own story in live action. It is a play that should provoke us to action and empathy, and encourage us to listen to the stories of people who feel so far removed from us. Little Brother brings such a story to the forefront, making Ibrahima feel like both a friend and a hero.
By Melody Adebisi
4/5