Review: ILFORD BOY, Donmar Warehouse

Coming-of-age plays are not new, but they vary hugely in quality and impact. Danny Lee Wynter's new work, Ilford Boy is a witty, sensitive and beautifully performed piece of theatre that will warm your soul and break your heart a little.

Mixed-race teenager Ted has just lost his Nana. Amid his chaotic, sweary, east London family, he is trying to find his place in a confusing world. His grandmother took him to the theatre and played him tapes of show tunes, but his father wants him to box and stand up for himself. One of his uncles undermines his aunt, while another cannot seem to defend himself against his wife's sniping. When his mother's gay best friend Patrick appears to pay his respects, Ted is introduced to a new world of possibilities of how many ways there are to be a man.

In many ways, Ilford Boy is quite a traditional coming-of-age tale, complete with large personalities, tricky family dynamics and a transformational figure. There are also deliciously meta theatrical references to the Donmar's own 1995 production of Company to enjoy, as well as darker realities of the AIDS crisis where infected people had the cups they drank from bleached afterwards.

Wynter brings such warmth and clarity into the characters that you are immersed in their story from the moment the lights go down. His script is brought vividly to life by an excellent cast, who all convince in their roles as they shuffle between 1995 and 1980 as backstories are established. 

Leo Whitfield Harris makes an impressive professional stage debut as Ted, showing sensitivity and palpable vulnerability. As the family rush about and shout at each other on the day of the funeral, Harris walks around slowly, alone, looking as though he is on the verge of tears; it's a deeply poignant scene.

There is a lovely, fractious bond between sisters played by Ria Zmitrowicz as Ted's lovingly protective mum Tillie, Jodie McNee as laconic Jackie and Charlotte Jaconelli as Ann, her lack of confidence shielded by outward feistiness. The trio swear and scream at each other throughout, but also exude loyalty and love; their interactions are often hilarious, sometimes devastating.

Craig Stein is both calming and catty as performer Patrick, who performs a wonderful dance routine to “Don’t Rain on My Parade” to close Act 1. As Ted's partially absent dad Ken, Gershwyn Eustache Jnr shows flashes of sensitivity that are submerged by more toxic masculinity as he ages. The portrayal of Ken's jagged history with Patrick is particularly interesting and impactful. Aaron Gill is forthright as Ann's controlling husband Raj and Cary Crankston meanders quietly as Jackie's henpecked husband Trevor.

Lindsey Coulson is very convincing as Eileen, the formidable, no-nonsense matriarch of the family, handing out cottage pies with one hand and tenners with the other. Her solid, unwavering presence in the flashback scenes show what the family, and especially Ted, are now missing.

After the very different Jesus Christ Superstar, versatile director Tim Sheader allows a very naturalistic feel, with the characters bickering one moment and taking a quiet breath the next.

Peter McKintosh keeps the domestic set fairly neutral, with effective use of open walls and a staircase up to the house's landing. There are lovely period details, such as references to long-departed Ilford department store Bodgers, Wogan and Ted fiddling with his Gameboy and drinking Sunny Delight. There's even a Filofax. Ryan Dawson Laight's costumes enable clear distinction between the two time periods, with excellent use of wigs. 

After controversy when he departed his debut play, BLACK SUPERHERO halfway through the run at the Royal Court in 2023, Ilford Boy feels like a very personal journey for Wynter. There is a lot stuffed into the 2 hour 30 minute-running time and also a little meandering which could be tightened up, but this production shows the strength and realism of Wynter's writing. The playful banter at the family dining table, the sharp ribbing that only a relative can get away with and relationships carefully drawn to reflect the diverse messiness of human life.

With some brilliant performances and a thoughtful exploration of Black manhood, Ilford Boy is an imperfect, but gorgeous little production.

Read our interview with actor Lindsey Coulson about the show here.

Ilford Boy runs at The Donmar Warehouse until 28 November

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