As I looked down at the stage from halfway up the iconic fan-shaped Rep auditorium, a quote appeared on the screen that is now etched into my memory: ‘A people without knowledge of their past history, origin, and culture is like a tree without roots’. These inspiring words were crafted by the Pan-Africanist activist, journalist and entrepreneur Marcus Garvey over a century ago, and yet they still ring true today. The Rush Theatre Company have adopted this philosophy, creating a production that traces the rich lives and experiences of the Windrush Generation to reveal the invaluable impact Black immigrants have had on Britain.

Rush, A Joyous Jamaican Journey is unlike any theatre performance I have ever witnessed before. There are no dramatic monologues or attempts to be transported to a new magical land; instead, a much more authentic and laidback approach is taken that is reflective of the genuine Jamaican identity. Described as a ‘narrated musical’, this show heavily focuses on the live music played by the JA Reggae Band, which is supplemented by snippets of speech from John Simmitt, who recounts the significant turning points in Jamaican history. 

This vibrant approach to education is certainly unique and prevented Simmitt from falling into the trap of becoming a boring, sermonising professor in a lecture hall. However, at times, the constant back and forth between a music segment and then a talking segment became a little bit too monotonous. It would have been nice to have some more moments of unpredictability. Despite providing some great visual aids and being a great reminder for the timeline of events, this was also not helped by the Powerpoint presentation in the background, which felt quite elementary and was not the most aesthetically pleasing. Furthermore, controlling this slideshow from onstage with a very visibly placed Macbook turned something that should be of high production value into an amateur project of sorts.

Nevertheless, this did not detract from the effervescence and energy of the performance. Simmitt was nothing short of hilarious. His transitions links between what he was saying to what was about to be played by the band were seamless and his jokes, which ranged from the raunchy pronunciation of patois to the importance of seasoning other than salt and pepper, were constructed and delivered perfectly from set-up to punchline. Moreover, his insertion of political polemic was edgy enough to prove a point, but not too overwhelming in a way that would ruin the lighthearted atmosphere – I can certainly say that ‘Cruella Braverman’ and ‘Shifty Patel’ are nicknames that will stick for a while. Finally, it must be noted that his dance moves were extremely entertaining to watch, whether he was stiffly stepping and shuffling or sensually whining up against a lectern.

Unfortunately, they were no match for the dynamism of DJ Ken Dread, who was constantly running around the stage and shaking his hips from side to side in his multicoloured light-up shoes. His dexterous handling of the decks complemented the live music of the band and added an extra dimension to the sound. This is not to say that the band was in need of this, given their technical brilliance. Special mention must be given to musical director and lead guitarist Orvil Pinnock, whose ability to absolutely shred his instrumental solos was electrifying to both watch and listen to. The brass trio – consisting of Adrian Gibson on trumpet, Peter Johnson on trombone and Anne Tinsley on saxophone – brought some punchy interjections and were always down to clown around with one another, especially when they led something resembling a conga across the stage. 

This backdrop was perfect for the stars of the show to truly shine. Lead singers IKA and Janice Williamson both had an impressive set of vocals that allowed the melodies of well-known anthems to soar across the room. The diversity of their repertoire was extensive, moving from the setting of the Jamaican club to the Jamaica church effortlessly and finding ways to do justice to all the branches of calypso, gospel and lovers rock respectively. Performing everything from Desmond Dekker’s ‘You Can Get It If You Really Want’ to Bob Marley’s ‘Could You Be Loved’, there was not a single moment where the audience failed to sway from side to side and sing along. 

Indeed, the highlight of this production was the audience participation. The older, knowing crowd – which Simmitt humorously referred to as ‘vintage’ throughout – did not fail to join in with call-and-response moments. There were some exclusively good sports who bravely faced the limbo in front of the rest of the crowd, and also took one for the team by having a ‘potty bucket’ of confetti thrown in their face on the front row. As a company hailing from Birmingham, the hometown presence and welcome were definitely palpable. 

Overall, the premise of this performance was promising. The melting pot of music that would not exist without the contributions of talented Jamaicans was brought to the fore and played flawlessly through various renditions. Simmitt’s reiteration of, ‘This ain’t black history. This ain’t white history. This history’, was corroborated by a mountain of evidence; I learnt so much more about who is responsible for the success of this country. However, the execution of what was trying to be achieved was not spot-on. A few tweaks to the actual format of the show and a couple of re-considerations of the set design could take Rush from a journey to a destination.

Rush, A Joyous Jamaican Journey will continue playing at the Birmingham Rep until Saturday 29th April 2023.

Rating: 3/5

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