REVIEW: Death of England

Death of England is a decade-long project has survived because it has difficult conversations about race and immigration and a sense of being English. Commissioned by The Guardian in collaboration with Royal Court, it now comes to the West End with three of the original four stories (‘Michael’, “Delroy’ and ‘Closing Time’) being performed in rep this summer.

‘Michael’ and ‘Delroy’ were performed side by side and shows the diverse attitudes and pockets of life that exist within modern working-class England. Across the plays, we’re introduced to characters from different generations and heritages and what unites them is a shared experience of loss, pain and confused identity.

‘Michael’ is about a white working-class lad who grieves the death of his racist father. Thomas Coombes seamlessly switches from cheeky chappy to a rage-filled son who is coping with his grief. He is trying to resolve the truth about his father’s character and come to terms with what it means to him.

The second part is ‘Delroy’ – played by Paapa Essideu, he takes his bit one step further by breaking down the fourth wall between actor and audience. His story is about what it means to truly belong and be ‘British’. With the birth of his child with girly Carly (Michael’s sister), he is forced to reevaluate his life. His performance is an attack on how people like him are treated and is a reflection that ‘Black Power’ does exist.

Both stories are an insight into how the British working-class struggle and live in modern society. The issues that both Micheal and Delroy must face are relatable to everyone who identifies as British – regardless of ethnicity or race.

A thoroughly deep and though-provoking watch!

Written by Nura Arooj