The Secret Life Of Bees – Almeida Theatre, London (LAST CHANCE TO SEE)

An energetic and uplifting musical treatment of 2001 novel The Secret Life of Bees is all about the musical numbers and the talented cast.

The Secret Life Of Bees

I snuck in just before the end of the Almeida run of The Secret Life of Bees. Based on a 2001 novel by Sue Monk Kidd, a 2008 film precedes this musical version which first opened in New York in 2019. It is the story of two young women in the fictitious town of Sylan, South Carolina, in 1964. Amidst a backdrop of the Civil Rights Movement, Lily and Rosaleen escape drudgery and violence together. That Lily is White and Rosaleen her Black housekeeper makes the danger of their flight all the more acute. The girls seek out a Black Madonna from an old postcard sent by Lily’s mother. The search brings them to the honey farm of sisters May, June and August Boatwright. In the ensuing weeks worlds collide, bringing fear and sadness, joy, and personal and spiritual growth.

I have not read the novel. But I understand that Lynn Nottage in writing the book for the musical version has done an excellent job of taking the plot back to essentials. It certainly feels like a stripped-down production in a good way. There’s plenty of space for songs, and a set (Soutra Gilmour) which evokes a place and a time with only the bare necessities. The lighting by Neil Austin is beautifully soft, like being inside a jar of honey. But the music by Duncan Sheik (with lyrics by Susan Birkenhead) is what really makes it. With influences rangings from folk and soul music to jazz, funk and even possibly the musical Grease, The Secret Life of Bees is packed full of numbers which allow the talented cast to show off their vocal range.

And what a cast it is. Despite the centring of Lily and to a lesser extent Rosaleen, this feels like an ensemble piece. Rachel John, Ava Brennan and Danielle Fiamanya as the three sisters are incredible. They each sing with such power and joy, and command the stage whenever they are present. Abiona Omonua is an endearing Rosaleen, her voice matching her character’s resolve and determination. And Eleanor Worthington-Cox’s soprano blends well with the rest of the cast as her character, too, learns to take responsibility for herself and set her own direction.

A Few Thoughts On Source Material

Something I reflected on as I watched The Secret Life of Bees is how quickly conversations shift. The novel was written over 20 years ago, before the Black Lives Matter movement, before the current Culture Wars. If it were written today, perhaps the placement of the story of a White character at the centre of a Civil Rights era story in which Black characters predominate might feel less comfortable. There’s even a song in which Rosaleen reminds Lily that is isn’t always all about her. But it sort of is. Perhaps this discomfort is the cause of the slight inaction in the pacing of the story? The key to the plot is what Lily’s mother was doing here many years ago, but everyone ignoring it until near the end feels a little stilted.

Related to this, I felt there was a slight danger of slipping into the trope of the ‘Magical Negro’, a wise and kindly (possibly actually magic) character who comes to the aid of White protagonists. This isn’t quite the same. But the sisters’ unconventional spirituality and sheltering of generations of young runaways brought it to mind.

Despite these challenges relating to the underlying story, I nonetheless recommend The Secret Life of Bees. It’s a great opportunity to see a magnificent cast show off their vocal range. And I defy you not to be moved by some of the numbers. As communities in America and elsewhere once more find themselves at odds, this is a heartwarming tale which never shies away from the darker undercurrents and threats of violence. It is sometimes uncomfortable but always impressive viewing.

Salterton Arts Review’s rating: 4/5

The Secret Life of Bees on until 27 May 2023