Review: LITTLE BROTHER, Jermyn Street Theatre

In the intimate confines of Jermyn Street Theatre, Timberlake Wertenbaker's adaptation of Ibrahima Balde and Amets Arzallus Antia's memoir unfolds with striking clarity and purpose. Little Brother traces the journey of Ibrahima, a young man from Guinea who abandons everything to search for his younger brother after discovering the boy has secretly fled towards Europe.

Under Stella Powell-Jones' thoughtful direction, this modern odyssey transforms a deeply personal narrative into a universal tale of familial devotion amidst the harsh realities of contemporary migration. The production's strength lies in its refusal to sensationalise its subject matter, instead offering a measured, deliberate examination of Ibrahima's perilous journey across the Sahara towards the Mediterranean.

The quest structure provides a solid narrative framework, guiding the audience through geographical shifts while maintaining emotional coherence. Particularly effective is how the production navigates complex geopolitical terrain. We witness the exploitation of African migrants by opportunistic players along established migration routes, the solidarity found among fellow travellers, and the systematic barriers erected against those seeking better circumstances.

Natalie Johnson's set design employs minimalist elements to evoke multiple settings with remarkable efficiency, utilizing soft terracotta and peach tones that reflect the sands of the Sahara and desert sunsets but belies the harsh environment the play tackles. Jahmiko Marshall's lighting design is particularly evocative of sunrise and sunset, reminding viewers how these natural phenomena are key factors in understanding the perception of time in African settings. The lighting creates distinct emotional landscapes that shift from the scorching Sahara to the treacherous Mediterranean crossings.

The production's visual language is further enhanced by Lati Saka's movement direction, which transforms actors' bodies into vehicles of expression that communicate what words alone cannot convey – the physical toll of such journeys and the emotional resilience required to endure them.

Falle Nioke's original composition and Max Pappenheim's sound design work in tandem to create an auditory experience that complements the narrative without overwhelming it. The sound effects are primarily musical in nature, yet never restrictive, allowing the story room to breathe. These musical motifs subtly reinforce the protagonist's cultural identity while charting his emotional trajectory.

The cinematic quality of the storytelling – with its attention to detail and fluid scene transitions – serves the narrative well, though occasionally the production seems caught between theatrical intimacy and filmic breadth. These moments, however, are brief distractions in an otherwise cohesive artistic vision.

What distinguishes this production is its refusal to present Ibrahima merely as a victim. Instead, we witness a complex individual navigating impossible circumstances with dignity and determination. The nuanced portrayal extends to discussions of identity politics, with Ibrahima finding solace among compatriots while simultaneously critiquing the failures of African governance systems that contribute to the vulnerability of their citizens outside of their country.

Wertenbaker's adaptation maintains a delicate balance between documentary-like authenticity and dramatic momentum. The dialogue captures the urgency of the situation without sacrificing depth or complexity. Powell-Jones' direction ensures the narrative remains centred on human connections despite the overwhelming sociopolitical backdrop.

For London audiences potentially desensitised to headlines about small boat crossings, Little Brother offers a necessary perspective shift. It contextualises migration not as a crisis of borders but as individual stories of necessity, courage and hope. By focusing on a specific brotherly bond, the production illuminates the universal human impulse to protect those we love, regardless of the cost.

The show at Jermyn Street Theatre succeeds by offering neither simple solutions nor moral platitudes. Instead, it presents a carefully crafted window into experiences that many in the audience will never personally encounter, yet which define our contemporary world. In doing so, it fulfils theatre's essential function: to expand our capacity for understanding across the boundaries that might otherwise divide us.

Little Brother is at Jermyn Street Theatre until 21 June