Beneatha’s Place by Kwame Kwei-Armah - ★★★★☆

1959, Nigeria. With the promise of independence in the air, Beneatha leaves behind a segregated America, to move to Lagos with Joseph Asagai, her husband and well-known political activist.

The couple's new home boasts of beige mottled walls, bronze fans, and an abundance of space. On arrival, they’re greeted by the previous owners of the house, Southern missionaries, Mr and Mrs Nelson. With a calabash in hand, they offer overly enthusiastic and clumsy introductions (in broken yoruba) with Mrs Nelson patronising Beneatha with her overzealous explanations of how to use simple household appliances.

As they hastily see the Nelson’s out, Beneatha and Joseph are met with another uninvited guest, Aunty Fola. Dressed in a blue gele, iro and buba and equipped with a slow waddle and sharp tongue, Jumoke Fashola is the perfect embodiment of the aunties we know so well.

Aunty Fola and Benetha unite in their playful jibes against Joshua, however Aunty Fola also brings more sinister news in the form of a warning. Confiding in Beneatha, she explains that Joseph’s leadership and opposition of British rule leaves him dangerously vulnerable and at risk.

The second act of the show is dramatically distinctive from the first. Set in the present day, and some 50 years later, Beneatha is now the dean of social sciences at a prestigious university. She returns to her home in Lagos with her colleagues, junior academic Wale (Zackary Momoh), Mark Bond, Professor of African American Studies (Sebastian Armesto), Professor Gary (Tom Godwin), and Dr Harriet Banks (Nia Gwynne) to vote upon whether African American Studies should remain as a major, or be demoted in favour of ‘Critical Whiteness studies’.

Against the backdrop of a vote, Kwame Kwei Armah invites the audience to witness a bold, witty, and at times, explosive debate between a group of academics, each person a subtle caricature of a familiar persona. Gary shudders at the use of the ‘p-word’ (privilege) and ‘racial quotas’ almost send him over the edge. While Mark, although well versed in African American studies, is unable to see how he contributes to the “caucasian voice [being] dominant in everything”.

Beneatha’s Place is simply brilliant. It provides an exploration into colonial history, while managing to be eerily relevant as the second act brings us into the 21st century. And, in all of this, Kwei-Armah keeps the pace, with many sharp and hilarious exchanges.

Cherelle Skeete is a truly fantastic Beneatha, supported by an equally talented cast, most of whom play dual roles, and do so with absolute ease.

We first fell in love with theatre many years ago at the Young Vic, and this show is a welcome reminder as to why.

Beneatha’s Place is showing at Young Vic until 05 August.

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