Sweet like Chocolate Boy by Triston Fynn Aiduenu is a remarkable, animated and innovative play; containing infatuating and exhilarating factors exploited. The casts Andrew Umerah, Alice Fofana, Michael Levi Fatogun and Veronica Beatrice Lewis had all done a fantastic job playing various characters. They explored themes of love, racism, police intimidation, ghetto and posh differentiations and similarities, embarking on the stigmas attached when referred to as a bounty.

I managed to speak with the director Triston, to get an insight into the origin of the idea of having the casts play different roles. Fortunately, he touched on this element mentioning how it was based on him wanting different members of the audience to affiliate themselves with a particular character and see qualities that resonated. I then asked Triston why personal identification conveyed through characterisation was an aspect he explored. Triston replied saying that through people seeing traits that connected with them personally, it would not only be more relatable but also create a more realistic perception of a recognisable world we know and live in.

Sweet like Chocolate boy is an unapologetic production, examining aspects of real lie scenarios. The different dynamics shown is Black empowerment, spiritual connectivity and the importance of healthy bonds between the youth and parent’s with the effects of how not having that bond reciprocates negative effects on the mind and triggers emotional instability. The play also showed the dynamic of having domineering low-key racist friends and the consequences erupted through being too trusting of them.

The production touched base with the fundamental values of sisterhood, brotherhood, upbringing and the guidance from elders foretelling the pros and cons of how their impact stimulates the youth’s conscious mind and will wild out if not tamed. The incorporation of subtle physical theatre movements was used to express their internal nature, power and freedom; enchanting a sense of ease as well as mental, spiritual and emotional stability.

One of the interesting elements was the presence of a God, divine energy representative. She remained stood in front of boxes throughout the entire production which changed colours when reflecting differing moods or tension. The huge boxes surrounding her lit up to these beautiful, graceful colours, her role was transparent as she hovered her arms over the boxes, constantly moving her arms in a mysterious, majestic way. Her facial expressions reflected her thoughts allowing the audience to sense how she felt during a scene, highlighting all crucial moments.

Sweet like Chocolate Boy is daring and enticing. Each scene contains high energy fused with scenes that’s emotional and fundamental as a fabricated England is shown reflecting life living in an estate. This  play is extremely entertaining as it features scenes filled with sexual innuendos, soulful, remixed garage music encouraging the audience to sing along, making Sweet like Chocolate Boy brilliantly distinctive, enjoyable and hysterical to watch.

Tanica Psalmist.