Racism, exploitation, colonialism and fear loom large in Ilarun: The Cutting Comb.
Based upon lived experiences past and present, this heartache took place over more than 400 years.
Spirituality and dreaming form an integral part of what is a potent portrayal of the slave trade … and fighting back.
The latter is informed by an early 18th century freedom fighter known as Nanny of the Maroons.
As writer, producer and star performer Amarantha Robinson puts it, spirit becomes the anchor of personal power.
Robinson is Jamaican, the descendant of millions of West Africans that were captured, traded and shipped as chattel across the Atlantic.
Photos by Dre Chez
Thereafter, they were worked to death. They were raped and beaten.
Masa (David John Watton) buys black slaves.
With the help of an offsider (played by Will Hall), being the brains of the operation, he rakes in the dollars, working them long and hard in the fields and cellars.
Their secret ingredient is a “milked” sexual fluid.
Juicy is given more favourable treatment than her sister Hetty (Rufaro Zimbudzi), but is still preyed upon.
Masa relies upon another slave, Jabari (Alpha Kargbo), to keep them in line.
Masa is sitting pretty until Juicy (Robinson) is inspired to say "no more" and forge a new way forward.
Playing a part in her liberation is a traditional African comb, known as the ilarun.
Mysticism is an elixir in this highly impactful, distressing, thought provoking and creative work, which is well realised.
The company has made excellent use of sound, lighting, staging, props and costuming to transport the audience back to the dark days.
The cast, under the skilful direction of Effie Nkrumah, does a fine job with the material with which they have to work.
Masa is painted as a buffoon, for whom his offsider has little time, while the slaves are prey to both.
I was particularly sold by the portrayal of Juicy by Robinson, who brings fire and passion to her persona.
I must say that upon exiting I couldn’t get the wails and torment out of my head.
My only criticism of Ilarun: The Cutting Comb came down to a decision to position the first 10 to 15 minutes in the gallery space above the main stage.
Conceptually, I had no issue with that, but in practice it was somewhat of a nightmare.
The cavernous nature of the gallery meant that unless the actors were facing you, it was very difficult to make out what they were saying.
Thereafter, once we were led down to the traditional theatre space at fortyfivedownstairs, that was no longer an issue.
On until 15th December, 2024, Ilarun: The Cutting Comb remains a work I would still highly commend, being a moving and meaningful experience.
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