Imogen Walker
Set on Lemonade Estate, “a place that people have forgotten, a place where the kids are running wild,” director Keith Saha’s Ghost Boy follows Jamal, an outwardly confident gang leader plagued by a dark secret. He meets taxi driver Dennis, a community elder fed up of the ‘little demons’ running round the estate, but little do they realise that they have more of a connection than either of them could have ever imagined.
In a surrealist, Magic Roundabout-esque melange of artistry, Ghost Boy’s experimental mix of dubstep, grime, ska, puppetry, hip-hop theatre, street art, dance, and comedy effectively creates a challenging and wholly absorbing piece of contemporary theatre.
Live cello and beat box are as much a part of the action as the beautifully designed masked gang members or intricate puppets. Stylised set design from Jo Pocock and street artist Sofiski effortlessly transport the audience to the realities of gang politics on the estate with life-size masks, origami-esque props, and intricate UV graffiti throughout the production.
With a seemingly limitless range of talents, Tachia Newall is certainly a force to be reckoned with. Whether dancing, rapping, singing or (would you believe) acting, Newall’s portrayal of protagonist Jamal was utterly enthralling. Effortlessly embodying the multifaceted Jamal, the audience were simultaneously entranced and repelled, sympathetic and abhorrent. Everal Walsh was little different, with the immediately likeable Dennis creating moments of hilarity against the gritty realist backdrop. Courtney Hayles, masked throughout, was truly mesmerizing with his silken movements and ethereal presence.
Hailing from Liverpool, 20 Stories High are at the forefront of contemporary theatre, creating productions that challenge and involve, pushing the boundaries of what constitutes modern theatre.
The myriad levels of artistry appeal to all ages and walks of life, from the chattering pre-adolescents giggling at the front and the dusty looking theatre regulars, to the gang of MC appreciating youths swigging pints at the back.
Although successful in all other respects, the production’s slightly rambling denouement became a little confused. Culminating in a whistle-stop tour of reconciliation, redemption, social justice, and human forgiveness, there seemed to be a certain haziness about what Ghost Boy ultimately was trying to express.
Yet, the eclectic fusion of music, dance, acting, graffiti, beat boxing, puppetry was an undeniable success… somehow, ‘theatre’ doesn’t really cut it as a description for this anarchic display of talent.
5 Stars