Wed. Nov 6th, 2024
alert-–-zendaya-and-tessa-thompson-inject-some-hollywood-support-into-jeremy-o.-harris’-slave-play-as-they-cosy-up-to-playwright-on-press-night-–-with-four-star-reviews-branding-show-‘an-event’Alert – Zendaya and Tessa Thompson inject some Hollywood support into Jeremy O. Harris’ Slave Play as they cosy up to playwright on press night – with four star reviews branding show ‘an event’

Zendaya and Tessa Thompson were among the stars who attended the press night of playwright Jeremy O. Harris’ show, Slave Play, in London.

The Euphoria star, 27, and the Westworld actress, 40, brought some Hollywood support at the Noel Coward Theatre as the production opened on the West End.

But with or without the injection of A-list glamour, the play has still received four star reviews, with one critic at The Guardian branding it ‘an event’.

The reviewer challenged anyone to ‘leave the play without needing to argue in favour or against, describe moments, express solidarity or otherwise.’

The 12-time Tony nominated play follows three interracial couples as they work on their relationships through a highly unusual type of sex therapy.

Zendaya (pictured right) and Tessa Thompson were among the stars who attended the press night of playwright Jeremy O. Harris' (left) show, Slave Play, in London

Zendaya (pictured right) and Tessa Thompson were among the stars who attended the press night of playwright Jeremy O. Harris’ (left) show, Slave Play, in London 

The Euphoria star, 27, and the Westworld actress, 40, were in attendance at the Noel Coward Theatre in London as the production arrived on the West End

The Euphoria star, 27, and the Westworld actress, 40, were in attendance at the Noel Coward Theatre in London as the production arrived on the West End

Thor actress Tessa cut an incredibly chic figure in a black mini dress, which styled with a pair of tights and black leather ankle boots

Thor actress Tessa cut an incredibly chic figure in a black mini dress, which styled with a pair of tights and black leather ankle boots

(L to R) Cast members Maite Jauregui, Malikah McHerrin-Cobb, Troy Alexander, Prince Kundai, Fisayo Akinade, James Cusati-Moyer, Chalia La Tour, Irene Sofia Lucio, Aaron Heffernan, Kit Harington, Olivia Washington, Dimitri Gripari and Annie McNamara

(L to R) Cast members Maite Jauregui, Malikah McHerrin-Cobb, Troy Alexander, Prince Kundai, Fisayo Akinade, James Cusati-Moyer, Chalia La Tour, Irene Sofia Lucio, Aaron Heffernan, Kit Harington, Olivia Washington, Dimitri Gripari and Annie McNamara

Kaneisha (Olivia Washington) and Jim (Kit Harington) are joined by two other interracial couples: Alana (Annie McNamara) and Phillip (Aaron Heffernan), plus Gary (Fisayo Akinade) and his (it turns out) actor boyfriend Dustin

Kaneisha (Olivia Washington) and Jim (Kit Harington) are joined by two other interracial couples: Alana (Annie McNamara) and Phillip (Aaron Heffernan), plus Gary (Fisayo Akinade) and his (it turns out) actor boyfriend Dustin

Kaneisha (Olivia Washington) and Jim (Kit Harington) are joined by two other interracial couples: Alana (Annie McNamara) and Phillip (Aaron Heffernan), plus Gary (Fisayo Akinade) and his (it turns out) actor boyfriend Dustin.

Read More

Zendaya picks up Tom Holland after his performance in Romeo and Juliet

article image

The play arrived on the West End after getting its own HBO doc and glitzy Broadway audiences, which included Rihanna – whose song Work is reprised during the play.

However, the controversial production was hit by outrage in its off-Broadway run back in in 2018 when a petition for closure was launched.

The play also caused a stir when it was revealed that their would be two Black Out nights geared towards black audiences, after producers announced shows ‘free from the white gaze’ in February.

At the time, a spokesperson for then-Prime Minister Rishi Sunak criticised the move and said ‘restricting audiences on the basis of race would be wrong and divisive’.

The Independent reviewer, said: ‘It’s never an easy watch – and its Black Out nights feel like an important gesture to Black audiences who don’t want white discomfort to define their experience of it.’ 

Meanwhile, the Evening Standard warned future audiences ‘prepare to be shocked’ during the ‘uncomfortable watch’ which uses racist language and ‘pornographic Deep South slavery fantasies’.

The lowest rating came from The Times, who offered the play two stars, and claimed: ‘the satire of Slave Play can all feel a bit five years ago ‘. However they did note that it may because that is how long it has taken to get to the West End.

During the evening, Zendaya and Tessa appeared on familiar terms with their pal Jeremy, 35, as they cuddled up to him for photographs.

Zendaya looked typically chic in a long-sleeved lime green shop, which she styled with a cream skirt and a pair of red boots. 

The Euphoria star donned a green long-sleeved top with a panel of pleated fabric extending from the neckline to under the shoulders

The Euphoria star donned a green long-sleeved top with a panel of pleated fabric extending from the neckline to under the shoulders

The Oakland, California native rounded out her look with a khaki skirt and brown leather boots

The Oakland, California native rounded out her look with a khaki skirt and brown leather boots

The glamorous entertainer posed with the feted scribe Harris on London's West End

The glamorous entertainer posed with the feted scribe Harris on London’s West End 

Lead actors Olivia Washington and Kit Harington lark around backstage with Jeremy

Lead actors Olivia Washington and Kit Harington lark around backstage with Jeremy

She opted for soft glam make-up and wore her dark locks slicked onto her head, while finishing the look with a selection of silver jewellery

She opted for soft glam make-up and wore her dark locks slicked onto her head, while finishing the look with a selection of silver jewellery

The Emmy-winning actress was subsequently photographed as she exited the venue while flanked by security and organizers

The Emmy-winning actress was subsequently photographed as she exited the venue while flanked by security and organizers 

Zendaya had her wavy blonde locks pulled back on the summer night, with some of her light tresses cascading in front of her face

Zendaya had her wavy blonde locks pulled back on the summer night, with some of her light tresses cascading in front of her face 

Zendaya plays the role of Rue on the popular HBO drama Euphoria

Zendaya plays the role of Rue on the popular HBO drama Euphoria

Plans are in the works for a third season of the breakout series, according to Casey Bloys, who is HBO and Max's chairman and CEO,

Plans are in the works for a third season of the breakout series, according to Casey Bloys, who is HBO and Max’s chairman and CEO,

Tessa was seen leaving the venue after showing her support on its press night

Tessa was seen leaving the venue after showing her support on its press night

Zendaya had her wavy blonde locks pulled back on the summer night, with some of her light tresses framing her pretty features.

Thor actress Tessa cut an incredibly chic figure in a black mini dress, which styled with a pair of tights and black leather ankle boots.

She opted for soft glam make-up and wore her dark locks slicked onto her head, while finishing the look with a selection of silver jewellery. 

Jeremy, who debuted his production five years ago, donned an all-black ensemble of a coat with roomy pants and shoes.

Emmy-winning actress Zendaya was subsequently photographed as she exited the venue while flanked by security and organisers later in the evening. 

Zendaya has spent time in London this summer, as she’s supported boyfriend Tom Holland as he performs in a production of Romeo & Juliet at The Duke of York’s Theatre.

She posed for pictures at the performance with American actress Tommy Dorfman

She posed for pictures at the performance with American actress Tommy Dorfman

Nell Mescal was among the guests at the play

Nell Mescal was among the guests at the play

Tommy cut a stylish figure in a grey jumper with flower applique

Tommy cut a stylish figure in a grey jumper with flower applique

Christine Spang and Eve Hewson beamed for snaps as they arrived at the show

Christine Spang and Eve Hewson beamed for snaps as they arrived at the show

Singer and DJ Shygirl posed on the red carpet outside the theatre

Singer and DJ Shygirl posed on the red carpet outside the theatre

Heather Small cut a glamorous figure in a white blouse and trousers

Heather Small cut a glamorous figure in a white blouse and trousers

Tracy-Ann Oberman brought some sunshine in a yellow floral dress

Tracy-Ann Oberman brought some sunshine in a yellow floral dress 

SLAVE PLAY: REVIEWS 

The Guardian

Rating:

It feels distinctly like an American play, confronting plantation slavery, although the therapy section brings a more generalised trauma for Black characters. It feels of a specific moment, too, and seems to predict BLM anger with language used in the resurgence of the 2020 movement (from likening racism to a ‘virus’ to the acknowledgment of white supremacy).

Clint Ramos’s set hides its shocks behind a mirrored back wall that reflects the audience (it was such a mirroring that inspired Harris to create the concept of Black Out nights) and it reminds us, lest we forget, that this is a play about the way ‘we’ look alongside the characters on stage.

Ultimately, all of us are implicated, mirror or no mirror. I challenge anyone to leave Slave Play without needing to argue in favour or against, describe moments, express solidarity or otherwise. It might be flawed but it is charismatic, needling theatre. An event.

The Independent 

Rating:

Harris’s play is full of a sharp satirical intelligence that makes the right words fall from the wrong mouths, and resists pat conclusions. 

It’s never an easy watch – and its Black Out nights feel like an important gesture to Black audiences who don’t want white discomfort to define their experience of it. But it is a necessary one, showing how old power structures linger, covered over by messy, fleshy protuberances of desire.

Evening Standard 

Rating:

Prepare to be shocked. Jeremy O. Harris’s bold, scabrously witty 2018 play sees three contemporary couples enact pornographic Deep South slavery fantasies as a form of therapy, designed to reignite the black characters’ vanished passion for their white partners. At least five people walked out the night I was there.

It’s not an easy watch, not just because of the racist language and discomfiting power-dynamics. The role-playing leads to long sessions where the couples and their therapists (who are also in a racially mixed lesbian relationship) angrily express their feelings. Clint Ramos’s echoey mirrored set – enabling the mostly white audience to watch themselves voyeuristically watching – also makes it hard to hear at times.

The Times

Rating:

If the satire of Slave Play can all feel a bit five years ago, that may be because that’s how long it has taken to get from hot-ticket acclaim on Broadway — including 12 Tony award nominations — to the West End. 

Revived here, it boasts some acute moments and fine performances from its Anglo-American cast. 

Yet Jeremy O Harris’s play comes across as the sort of ideas-led piece that would stimulate over an hour but has instead unwisely swollen to two hours.

Financial Times 

Rating:

The tone of Robert O’Hara’s staging, likewise, is heightened, acknowledging the role drama has had in perpetuating ideas, repeatedly exploiting the friction between stereotype and reality. 

Yet all the performances are agonisingly truthful. There’s outstanding, intricate work from Fisayo Akinade and James Cusati-Moyer as a tormented gay couple while Kit Harington, as the British Jim, and Olivia Washington, as the American Kaneisha, are distressingly good as they trace their harrowing journey. Questions nag at you — would the couples continue once they knew the premise of the programme? And the final scene is extremely upsetting.

But then that’s surely Harris’s point — that if we don’t properly face the issues we’ve inherited, with frankness, then we have no hope of moving forward. Clint Ramos’s set of mirrored walls pointedly drives that home. A tough, troubling, revealing play: proof again that the stage has become an excellent place to grapple, collectively, with our fraught and freighted times and to help us listen better to our own responses.

error: Content is protected !!