Death of England: Michael 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: Delroy, with both Parts I and II performed in a single day, each lasting a manageable 100 minutes without an interval. From August 22nd, the trilogy will be completed by the opening of Death of England: Closing Time. Written by Roy Williams and Clint Dyer (who also directs), this blistering production pulls no punches, offering a raw exploration of identity, grief, and societal expectations.
At the heart of this one-man play is Michael, a character grappling with the weight of his father’s legacy and the question of inherited racism. Michael is depicted as a complex figure who feels pressured to live up to his father’s expectations. He is a sensitive soul trapped in a toxic masculine environment, struggling with the racial stereotypes that his late father valued. His father’s death acts as a catalyst for Michael’s journey through incident, grief, and ultimately, revelation. The simple set, dominated by a red cross, mirrors Michael’s internal crossroads as he attempts to shed his father’s overbearing influence and find his own way in life. Played with a roiling energy and unrelenting passion, Thomas Coombes serves up a Michael who is brash, conflicted, vulnerable, and seemingly right on the edge of sanity as he works his way through this crisis.
Despite having a close friendship with Delroy, a Black man, Michael finds himself torn between his multicultural upbringing in London and his paternal heritage that urges pride in whiteness. This internal conflict is a reflection of a broader societal struggle, especially familiar to those from working-class backgrounds, who are often at the sharp end of culture clashes. The play highlights the persistent undercurrent of those determined to “take back England,” as seen in recent political trends. Thankfully, it cleverly undermines this at all turns and gives food for thought on the topic.
The play’s bold dialogue offers a sharp commentary on contemporary politics and societal attitudes. Words and phrases that might seem awkward if penned by anyone other than a person of colour are delivered with style and intention, challenging the audience to confront uncomfortable truths.
Death of England: Michael is as much a family drama as it is a societal critique. Michael’s interactions with his dad, mum, sister Carly, and family friends Denise and Delroy are crafted with depth and emotional resonance. The minimalist set enhances this, with sparse props such as flowers, a stuffed English bulldog, and an England shirt serving as symbolic connections to specific characters.
The conversational style of the play creates an atmosphere that feels, at times, incredibly natural, perhaps preventing laughter at moments where it might have been warranted. It cuts deep into British society’s tendency to humour individuals with these controversial views. While many of us encounter such people and simply endure the interactions politely, the play asks a pressing question: Should we do this? Shouldn’t we challenge casual racism at every opportunity?
Ultimately, Death of England: Michael is an unflinching examination of race, identity, and family that encourages reflection and dialogue long after the curtain falls.
