August in England – Bush Theatre, London

Lenny Henry’s debut play August in England starts like a comedy set and ends like a punch to the gut.

August In England

2023 marks the 75th anniversary of the HMT Empire Windrush bringing more than 800 passengers from the Caribbean to British shores. It became a symbol of a wave of post-war immigration: thousands of citizens from Britain’s West Indian colonies who came to make a new life for themselves in Blighty. More recently, it has been a symbol of the shameful and scandalous treatment of those same people, caught up in the “hostile environment” initiated by Theresa May.

Sir Lenny Henry began discussing an idea for a play with the Bush Theatre‘s Artistic Director Lynette Linton in 2020. Thanks to Amelia Gentleman‘s persistance, the Windrush Scandal was front page news, and Henry wanted to contribute to the conversation. He worked on the project alongside others over the last three years. And now he has brought his idea to life as August in England, a monologue and ode to the Windrush Generation.

In it, Henry brings to life the character of August Hamilton. He arrives in England on his mother’s passport at the age of eight. We follow his story from his father’s departure from Jamaica, to his mother’s decision to follow him to Peckham. “Peckham was rough!“, August tells us. We trace August’s life as the family move to the Black Country. He comes of age amidst reggae and ska and dancing close with Clarice. The pace increases and August recounts family life, running a business with best mate Iqbal. Ups and downs, triumphs and failures. An ordinary life in the Midlands. Until the first letter plops through the door.

“We regret long residence in the United Kingdom alone does not confer British nationality.”

The most abhorrent part of the Windrush Scandal, aside from the fact that for many it’s not over, is its callous, dehumanising nature. A lifetime of contribution to British society discounted because you don’t have the right proof. Rights stripped from so many who legally arrived as children on their mother’s passport. Intimidation outsourced to companies incentivised to send long-time UK residents back to countries they had no means of supporting themselves in. We learned of one such real-life story earlier this year in On the Ropes, Vernon Vanriel’s story of hardship and homelessness after being denied reentry to the UK.

What August in England does brilliantly is to humanise this story once more. In fact, while the spectre of the Windrush Scandal does cut through August’s monologue at unexpected moments, it’s not mentioned for a good part of the play. The point being that none of the approximately 57,000 people put at risk by the government’s policies are their immigration status. Like August they are husbands or wives, parents, friends, lovers, colleagues, business partners. By taking the time to tell August’s life story, Henry reminds us how unimportant this one detail should have been. And puts into perspective how much was taken away.

Lynette Linton and Daniel Bailey, co-directing, brilliantly create a sense of mounting pressure. The early scenes play to Henry’s comedic strengths. He has the audience in the palm of his hand from the outset, handing out drinks and pausing to get bigger laughs. I haven’t laughed out loud so much at the theatre in a while. This production is a bit like that metaphor about boiling a frog, though. You don’t necessarily notice how far the tone has shifted until pow!, the final scenes hit you like a punch to the gut.

Final Thoughts

I won’t spoil too much because you should definitely see August in England for yourself, but the production incorporates real stories from Michael Braithwaite, Gloria Fletcher and Judy Griffith. Seeing some of these Windrush Scandal survivors in attendance on press night was humbling. Henry’s aim in writing August in England was to do something to help, and by bringing this story to life in such vivid colour he has done so. To take an audience from tears of laughter to tears of empathy and frustration in the course of 90 minutes is a special talent.

A production is of course more than its writer/actor and directors. Natalie Price has created a set which transports us to a comfortable family home with just a few simple elements. I (somewhat counterintuitively) noticed Jai Morjaria’s lighting design because it was so seamless. It’s not showy (well, apart from one big moment), but is always perfectly in step with the mood of each scene. Video design by Gino Ricardo Green foreshadows what is to come, as well as integrating the real life stories into the production. And what’s behind the scenes is as carefully thought out, with Amelia Gentleman engaged as a Windrush Consultant, a self-care guide linked to the programme, and a moment’s pause in the theatre at the end of the evening for those who need it.

I can’t recommend August in England highly enough. This is my second 5-star review in a row at the Bush Theatre, who are having a great year with more to come. You may leave this play rightfully angry, but you will also come away with a full heart and some ‘bostin’ tunes in your head.

Salterton Arts Review’s rating: 5/5

August in England on until 10 June 2023