Death of England: Delroy is currently playing at Soho Place, just across from the bustling Tottenham Court Road station. Running until September 28th, the production is part of a trilogy alongside Death of England: Michael, with both Parts I and II frequently performed in a single day, each lasting a manageable 100 minutes. From August 22nd, the trilogy will be completed by the opening of Death of England: Closing Time.
Death of England: Delroy delivers a devastating yet all-too-accurate depiction of a Black man’s life in 2024 Great Britain. The play opens with Delroy, continuing the narrative from Part I, but with distinct differences that quickly become apparent. While Death of England: Michael presents a protagonist grappling with internal conflict, Death of England: Delroy introduces us to a man who is less conflicted and more frustrated, hiding his anger at the chains that bind him with gallows humour and street-smart wit. Unlike the first part, Delroy heavily interacts with the audience, drawing us into his world by demanding our engagement, laughter, and empathy.
The story revolves around one particularly bad day in Delroy’s life and its repercussions. Paapa Essiedu’s performance as Delroy is nothing short of phenomenal. He captivates with his unrelenting charm, a confrontational yet conversational delivery, and a deeply vulnerable portrayal that keeps the audience invested throughout. His performance is a testament to an actor in his prime, seamlessly shifting between characters—from Delroy’s mum and partner to the various unsavoury figures he encounters on this tragic yet believable day. In fact, Essiedu’s ability to transition between characters is so sharp and precise that it feels as though he shares a telepathic connection with the lighting operator, whose cues perfectly complement the beats of the play. This seamless interaction enhances the strong choices the actor makes to bring his characters to life.
The further brilliance of this production lies in the collaboration between writers Clint Dyer and Roy Williams. Their plays accurately capture the tenor of Modern London English (not Cockney, not Southern but an emerging and constantly changing accent – MLE), with a keen ear for the working-class dialect, while also providing poetic and introspective moments during Delroy’s most intimate reflections. Their confident storytelling, combined with Essiedu’s skill and bravery, keeps the audience enthralled.
Death of England: Delroy tackles important themes such as racial profiling and interracial relationship tensions, reflecting the furious voice of the working underclass. The play resonates deeply, portraying the struggles of a man who is, through no fault of his own, starting the race ten steps behind everyone else.
The heart-rending narrative serves as a stark reminder that, despite progress, racial equity in the UK is still a long way off. I laughed, I furrowed my brows at the injustice and ignorance of it all and left the theatre profoundly challenged and moved. This is a performance that demands to be seen and discussed.
Magnificent. If I could give it six stars, I would.
