Elmina’s Kitchen
Garrick

TWO years ago the Elmina train set off from the National Theatre and does not seem to have stopped since. This is the third incarnation I have seen to date. I understand it is the first black British drama to make it to the West End. That alone makes it worth a look.
There have been some changes of cast along the way. Don Warrington now takes the role of Deli’s cunning father, Clifton, the new Deli is the play’s author Kwame Kwei-Armah and Deli’s son, Ashley, is the much more frenetic Michael Obiora. Dona Croll returns as the feisty Anastasia, Oscar James reprises the affectionate West Indian, bag-toting vendor Baygee and Sean Parkes is, again, the menacing Digger.
This production is played much more for laughs, the pace often so light that the more serious points are occasionally drowned in the laughter. While the jokes were more West End, a much more West Indian audience was evident and, characteristically, much more involved in the play’s action with raucous sniggers, comments and gasps.
Croll, as always, does stalwart work, as does James. Don Warrington, who courtesy of Rising Damp is better known for his well-honed vowels, turns out to be from Trinidad and is something of a revelation as Clifton.
Kwei-Armah is a rather too sweet Deli, with a soft voice and boyish stance. When he stands up to his son (Obiora), he lacks fatherly authority taking the edge off the conflict.
Obiora is a bit of a miss in casting terms, too, as his predecessor had the innocent looking face of a boy out of his depth. The lopsided sneer Obiora sports on a virtually permanent basis makes him look comical rather than lost.
Sean Parkes, however, has gone from strength to strength with his frightening portrayal of a gun-toting gangster whose last act of cruel madness is as shocking as it is final.
He now has a real charisma and presence in the role and is an immediate focus when he is on stage. I hope we will see him in more productions soon.

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