Mustapha’s Matura’s play, originally based on the Irish classic The Playboy of the Western World, premiered last night at the wonderful and newly renovated Birmingham REP.  Although the play itself has been entertaining audiences for over thirty-five years, this is the first time it has been heard with Clement Ishmael (Five Guys Named Moe) and Dominique Le Gendre’s Caribbean inspired score.

Michael Taylor’s set design transports you to the Caribbean beach – live steel drums played in the foyer and the mood was bright.  Although the set remains within Peggy’s rum bar throughout, the attention to detail shines. As the moon slowly rises throughout the first scene and peaks, the young couple sing about their love beneath that very same moon.

The characters are bold under Nicolas Kent’s direction. Gleanne Purcell Brown shines as Peggy; her voice is subtle and yet strong. Ken, played by Durone Stokes, steals the show with his incredible soulful tones. The couple sing a number of duets, though despite their wonderful musicality, the songs never really feel particularly needed.  The ensemble bring the entire show to life; the few numbers they have are vibrant and full of spirit.  

The second act opens with the cast drunkenly swaying onto the set, wonderfully choreographed by Ingrid Mckinnon, with spoons and rum bottles in hand. This quickly becomes a chance for the ensemble to show their community spirit and begin to play these with great virtuosity.  The supporting characters are comical and quick-witted and have the audience in the palm of their hand.  Derek Elroy’s ‘Stanley’ is purposefully stiff and frightened of his own shadow, meanwhile Angela Wynter’s ‘Mama’ is brash and bold.  When Mama hears that the man who has appeared in their village will be working and living within the rum bar, she retorts – “Ever seen a butcher sleep with his cow?”

Mustapha’s Matura’s dialogue must be commended. Trinidadian dialect is used throughout which helps transports you to the village of Mayaro. Here lives Peggy, who runs her father’s rum bar, and is betrothed to a man for land rather than love.  Peggy clearly wants more and she finds it one evening when she is visited by a mysterious, yet charming stranger called Ken.  With his mellifluous tones, he captivates the villagers with an unbelievable tale. As Peggy begins to fall under his spell, her future marriage to Stanley is under threat, as is the state of the village and its moral compass.  

The story is strong and directed with community spirit, warmth, and humour, but it should be considered whether the music is really needed.  The songs, although pleasant, feel like an accessory to an already well-established play.  Playboy of the West Indies is an adaptation itself and perhaps this musical version is just another adaptation too far.  With such a diverse and young audience at its feet, it’s hard not to root for this story and how Mustapha Matura catapulted the Caribbean onto the stage and to the British public, albeit 35 years ago.  

The world premiere of the musical of Playboy of the West Indies is full of surprises, and with a strong and vivacious ensemble, you’d be ‘bazodee’ not to see it for yourself!

*** Three stars

Reviewed by: Sophie Eaton & Alanna Boden

Playboy of the West Indies plays at Birmingham Rep until 2 July, with tickets available here.