Joy Nesbitt’s Royal Court debut play Blood of my Blood has an intriguing premise – Talulah (Jodie Campbell) travels to Bullock Creek, South Carolina, a former plantation turned Airbnb, in an attempt to communicate with her ancestor Ginnie Good, (Ronkẹ Adékọluẹ́jọ) a former slave who worked on the plantation. Set in 1862, on the eve of abolition, and the present day, Nesbitt’s piece tackles ideas of inheritance, the legacy of slavery and how physical spaces are representative of an ‘open wound.’ Although there are strong performances, and an involving, atmospheric feel, its pacing and occasional lack of focus weaken its impact.
Staged in the smaller Jerwood Theatre, Natalie Price’s naturalistic set doubles as Ginnie’s slave cabin, and the repurposed AirBnB that Talulah is staying in. The openness of it offers a window into the past, inviting the audience in, but it is the tree, symbolic of the tree of life that is the real scene-stealer. Characters from the past and present move throughout the space simultaneously, creating striking visual links between the past and present – which throughout the piece grow stronger. Simisola Majekodunmi’s intuitive lighting enriches this visceral connection, ensuring that the production avoids the pitfall of telling rather than showing.
Adékọluẹ́jọ gives a standout, layered performance as Ginnie Good, an enslaved woman who has borne eight children by her enslaver. The relationship is heavily explored, however, it does feel romanticised, making it uncomfortable given the obvious power imbalance. Talulah feels less developed and is never challenged as much as Good is, and although Campbell is talented, Talulah’s unclear motivations mean that the final beats of the production do not land with the desired emotional impact. Ironically, I felt that Nora, Hannah Morrish’s neurotic AirBnB owner, was more fleshed out – especially when pushed to divulge her true feelings about living on a former plantation. I am unsure why Nora felt the need to ingratiate herself with her guest so intensely; I’ve never had that experience in an AirBnB. The character functions as an audience surrogate so that we can learn about Talulah’s backstory. Morrish’s restrained turn as Doc’s wife is a briefer, but impactful performance. Patrick Vaill’s dual role as slave Doc and Nora’s husband James is a clever choice, adding an extra tension to his scenes with Talulah in the present.
The connection between past and present, undoubtedly the play’s most interesting concept, is not fully formed until the close of the first act, moving the story along from another tale about slavery into something more supernatural. It is a welcome gear switch, and the second half discusses the plays established themes with greater depth, although it may not add much new to the current discourse. The play revisits familiar territory, depicting both the brutality of slavery and the racism that persists in the present day, often with a person of colour tasked with confronting white characters about their prejudices. At times the production seems unsure of what it wants to be: a ghost story, a thriller, a naturalistic drama or a tale about motherhood? It shifts between them frequently, and I cannot help but feel that if it had chosen one lane and stayed in it, the result would seem more cohesive.
While it has an intriguing premise and the atmosphere to bring it to life, Blood of my Blood’s slow start, uneven characterisation and shifting focus hamper it from realising its full potential.
3/5
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Playing at the Royal Court until 7th November!
Tickets here: https://royalcourttheatre.com/events/blood-of-my-blood/
Photography by: Marc Brenner
