Review: Small Island, at the National Theatre, London

One of the best things I saw in 2020 during the lockdown was the streaming of Small Island at the National Theatre. I enjoyed it so much that I said to myself that if it came back, then I would go and see it live. 

Two years since theatres shut down (as of writing this), here I am. 

For those unfamiliar, Small Island was originally a novel by Andrea Levy, and was adapted for the National by Helen Edmundson, playing in the Olivier in 2019 - to where it now returns. It definitely needs the Olivier space, just for the huge ensemble cast alone. 

Set both pre and post World War 2, the story switches between characters on two small islands (hence the name of the title...): Jamaica and Britain. Focusing on a few characters and their hopes and dreams, before dealing the realities and culture clashes of 1940s Britain. 

The show was aired as part of its NT Live at Home during lockdown in June 2020, as a response to the Black Lives Matter movement. The perfect choice to be honest. I had almost forgotten how good this play was - and how much of an emotional punch it packed, which is as strong as ever with its whole new cast. 

While there is no "flashy star casting" in its marketing, you MAY recognise Leonie Elliot, who leads the company as the uptight Hortense - she plays Lucille in Call The Midwife! She is utterly phenomenal in this, and tragic as all of her exceptions of England are dashed when entering Gilbert's room. 

Similarly phenomenal for me was Mirren Mack as Queenie, a woman who takes in Gilbert, Hortense and other West Indian immigrants who arrived via the Empire Windrush. She's not perfect by all means, but has a huge heart, and is just thankful for the connection after her husband doesn't return from the War. 

I particularly loved scenes in which Queenie and Hortense were together; seeing the cultures clash and Queenie put her foot in it, but not trying to be nasty. 

However big or small these characters roles were, none of them were perfect. They all had their flaws left raw for the Olivier to see. 

And in that, the ugliness of post-colonial Britain, especially in the second half. It is often uncomfortable to watch. 

It's truly eye-opening to see through Edmundson's tight script how far we may have come since the 40s, but also how far we still have yet to go. 

The legacy of this piece however is definitely promising; I managed to spot at least two school groups out of the corner of my eye. My hope is that this piece of history is now starting to be taught in schools, that the Black Lives Matter movement has born a yearning for knowledge. 

Sadly, I had no education at all about something so important to British history; in fact, I was having a really good chat with the lady sitting next to me about this. The fact that in the toilets in the interval, I overheard some of the students discussing the play was encouraging. 

This is truly a must see. I cannot stress that enough. 

It's an important piece if you wish to learn more about post-colonial Britain; to understand its history, culture, how rusty race relations were back then. Especially so we do not forget the spark that the Black Lives Matter set off. 

To be able to bring this back with an entirely new cast, with such a BANG has got to be something the National need to be celebrated for. 

Small Island is playing at the National Theatre Oliver until 30th April. I truly truly urge you to go and see it.