Review: THE RETURN OF BENJAMIN LAY, Finborough Theatre

A pub theatre in Earl's Court turns into a Quaker Meeting House for Naomi Wallace and Marcus Rediker's intriguing play The Return of Benjamin Lay, which takes the true story of a farmer, sailor, and abolitionist who stands just 4 feet tall and makes his passion for equality universal.

Lay (Mark Povinelli, who commands the stage with wit, physical energy, and style) returns after three centuries to argue his expulsion from the Quakers. Throughout the play, we hear of injustice after injustice meted out to those of different colour, size, race, or religion.

Young Lay understands the word "misshapen" before he can talk, and urges people not just to look, but to see, when they are confronted with something they don't understand. 

We meet many characters throughout the 70-minute play, including an arrogant George II, who literally belittles his court jester, suggesting Lay may like to have him as a companion to play with, and Benjamin Franklin, who covertly supported the abolition of slavery without ever speaking out against it.

We hear of Lay's first love and life partner, Sarah, and as audience and fellow brothers and sisters are invited to consider our own feelings and choices, in cheerful yet combative challenge.

With the Finborough's windows revealed the play is both real and not real, theatre and not theatre. The use of both natural light and cleverly thought out stage lighting (by Anthony Doran) places us at sea and on land, and gives focus to more dramatic moments towards the end.

Elsewhere, Wallace and Redicker's text tells us of scenes difficult to enact in a one-person play, but Povinelli has such a gift of mimicry and energy he makes every moment and character count, even engaging with various audience members throughout the play.

The set (by Riccardo Hernandez and Isobel Nicholson) of chairs, table, ladder and a handful of props is enhanced by the sound (by John Leonard) of birds and storms as Lay recounts his sailing days: "yes, I dangled, but I never fell". Lay is costumed in tattered and salt-stained clothes (by Nicolson) which evoke an eventful past.

In making the play timeless, we are invited to consider how the shadow of racism, poverty, human trafficking, discrimination and ableism still blights us in the 21st century. As Lay seeks readmittance into the faith of silence and peace, has much changed since his time?

This is a complex and fascinating play in which director Ron Daniels, actor Povinelli, and movement consultant Bill Irwin have created a special moment of connection with a historical figure who was surely a living Goliath, whatever his physical stature.

The Return of Benjamin Lay is at Finborough Theatre until 8 July.

Read our guest blog with Naomi Wallace and Marcus Rediker here.

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