It may seem unlikely to find humor in a narrative centered on the legacies of enslavement and the erasure of Black histories. However, Winsome Pinnock’s vibrant drama introduces comedic elements through the story of two Black scholars tasked with validating a collection of 18th-century diaries penned by an enslaver.
The character Fenella, commonly referred to as Fen and portrayed by Sylvestra Le Touzel, is a direct descendant of Henry Harford and currently oversees his distinguished country estate. It is Fen who discovers the diaries detailing life on Harford’s Jamaican plantation, where enslaved individuals lived and worked. She entrusts the diaries to Abi (played by Rakie Ayola) and Marva (Cherrelle Skeete), allowing them the freedom to authenticate the documents for future generations. Fen argues that Harford may have been an abolitionist, yet Abi and Marva’s research uncovers unsettling evidence of his cruelty in Jamaica.
The dynamic between these two women resembles a contemporary twist on the classic detective duo of Holmes and Watson, through which Pinnock skillfully explores the complexities of class and race. Abi, with her privileged background and education from Oxford, is of Nigerian descent and comes from a family that has its own links to the transatlantic slave trade. Marva, on the other hand, is a promising working-class mentee whose grandfather has a mysterious past connected to the Harford family.
While the coincidences in their backstories may appear overly convenient, particularly as they lead to a series of plot twists reminiscent of an Agatha Christie mystery, the clever humor and sharp dialogue throughout the play make it easy to overlook these contrivances.
Pinnock successfully transforms this narrative of tainted legacies, overlooked Black histories, and issues of racial appropriation into an engaging experience. A significant portion of this amusement arises from her playful take on the haunted house genre, which unfolds on a creatively designed set by Jon Bausor, featuring empty ornate frames and trapdoors that reveal the estate’s hidden secrets. The atmosphere is enhanced by dim lighting and tense string music that contribute to the eerie ambiance.
The character of Fen provides much of the comedic relief. While she presents herself as a well-meaning individual eager to make amends for her family’s past, it quickly becomes evident that she is adept at absolving herself from responsibility. Once a punk in her youth at Oxford, her backstory adds depth to her character, and she amusingly attributes her family’s historical injustices to the men in her lineage. At times, the narrative takes on a “Knives Out” feel, layered with post-colonial themes.
Pinnock further satirizes aristocrats who rent out their homes for profit; for instance, a grime artist is filming a music video by the fountain just as the scholars arrive, and a fictional ghost has been created for tourist tours of the estate.
However, the play also addresses genuine hauntings. One is represented by a “Blackamoor statue,” which has been concealed following discussions about colonial heritage and statues in Britain, particularly in the wake of George Floyd’s death. Another haunting is found in the missing pages of the diaries that hint at violence against an enslaved woman called “Black Sarah.”
The tone of the production shifts as it navigates these serious themes, with director Miranda Cromwell skillfully guiding the performances through complex emotional terrain. Each actor delivers a vibrant portrayal, evoking laughter while simultaneously conveying the guilt, shame, and hidden traumas of their characters.
The overall effect is a deft blend of lightness and depth, providing a compelling lens through which to examine pressing contemporary issues related to historical investigation, confronting toxic legacies, and seeking atonement—or at least an apology—for them.
This engaging production is currently on stage at the Dorfman Theatre, National Theatre, London, until May 9.
