Tambo and Bones | Stratford East

Tambo and Bones, which is written by Dave Harris and directed by Matthew Xia, is an extraordinary piece of theatre that challenges and pushes the definition of theatre with a script that defiantly speaks its truth. The play is impressively powerful, rendering the audience members to sit in silence, post show, to reflect on what they've just watched and recollect themselves.

Tambo and Bones is a play like no other, choosing to push to an extremity to be heard. In simple terms, the play can not and will not be ignored and I implore everyone to listen. The show, admittedly, made headlines on a previous production for its extreme view and being daring and diverse. Nevertheless, the play offers an unique exploration into racism in a momentous play. 

The play is split into three acts, with the first two acts before the interval. The first act, takes place in a meta setting, where the actors comment on the show being a minstrel, and mocking the hilariously fake nature setting. With a glaringly fake and low budget landscape at the butt of the jokes, the act is instantly whimsy and almost childish in its simple opening with an animated problem and solution moment with Tambo. However, the play begins to warm up with the entrance of Bones, who is desperately seeking quarters from the audience as a means of survival and validation. As the two appeal to the audience's sense of empathy, and then impressive tricks or emotional manipulation, the loose threads come together, weaving into a net that the audience doesn't quite notice. Yet. 

The second act fast forwards to Tambo and Bones having made their many millions from music, that combines the well known music from their ancestors with modern rap. Wade in The Water, one of the most important spirituals, plays alongside the rap as they document their personal rise to the top, in a staggeringly touching undertone. Tambo and Bones begin to clash as their artistry and creative intent begins to diverge with the former wanting to take action immediately and Bones playing the long game, until a more high stakes rap battle begins. 

The third act, for want to keep this spoiler free, is the gunshot of this loaded gun of a play. Triggered to the point of no return and fast forwarding centuries into the future, the third act tests the audience in truly remarkable yet offensively horrific ways, demanding their full attention. This act propels the play as a whole from powerful to revolutionary, not only turning the tables and shining the light in the eyes of the audience, but on society, the world and the games that we play. In a defining moment, Tambo and Bones break through the fourth wall with a chilling stillness that settles in the hearts and minds of the audience. 

Harris has a finely honed talent for the craft, creating a piece that showcases the best that theatre has to offer, alongside a concept that is unmatched. Between the moments of easy humour, emotional vulnerability, call for change and the shocking aftermath, Harris demonstrates his talent, and becomes an exciting and electric writer. Xia, on their part, manages to not only squeeze out the nuances and many layers of the script, but out of every other creative element on the team. The performers are guided to not only educate and entertain audiences, but to enrich the theatre scene with visual gags, comedic timing, magic tricks, rapping and dialogue delivery. 

Sadeysa Greenaway-Bailey (set and costume designer) delivers a set that is deceptively clever and costumes that really immerse the audience into the early 1900s. Richard Hammarton's sound design makes for a chilling experience, especially in the final act. Sam Lyon-Behan's fight scenes are incredibly well choreographed and leaves audiences reeling between acting and reality. Ciarán Cunningham's lighting design absolutely, well shines, in the play, bringing sunshine to the people. However, this is particularly admirable in the second act, with the set/sound looking like a concert, with the kites dancing overhead. 

The performances were stunning, with Clifford Samuel (Tambo) and Daniel Ward (Bones) leading the play. Samuel's justifiable anger cuts through the light hearted moments like a knife, with a piecing performance that renders audiences into a reverent silence. Ward emerges on stage with optimism and energy. A strong performance that captures the shows essence, Ward's paranoia and emotional bravery stitches the play together. The two have a clear friendship that re-establishes Tambo and Bones' own relationship. Samuel and Ward are later joined by Jaron Lammens and Dru Cripps, in a non-revealed role, who both do a fantastic job in their roles, playing it with such conviction that audiences members are left marvelling at their movement. 

Tambo and Bones is nothing short of a deafening success with a show which its impact will leave ripples on the theatre scene for years to come, but also a small whisper turn chant into the larger world. Utterly captivating, unexpected and courageously bold, it's a play that tackles racism and everything else wrong with it. 

Tambo and Bones is currently playing at the Stratford East until Saturday 10th May 2025. 

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★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Jane Hobson