By Adam Bloodworth
Ryan Calais Cameron’s play For Black Boys Who Considered Suicide When The Hue Gets Too Heavy is a bold, experimental piece asking big questions about Black male mental health.
As the title suggests, it’s heavy, but it’s light too: as much a celebration of Blackness and Black identity as it is an examination of what can be done to help. Meet a selection of young Black male characters, each with their own challenges, as they come together to discuss the important things in life.
For Black Boys opens at the Garrick Theatre on 29 February. We spoke to playwright Ryan Calais Cameron to hear more about bringing the show from the Royal Court into the West End.
How did it feel to see the success of your show during its first run?
It has been incredibly gratifying to see the impact the work has had on audiences. It has brought a sense of pride in knowing that the work is reaching and affecting people on a meaningful level.
What do you hope the show achieves now it’s on a bigger stage?
Bringing the show to a bigger stage allows us to reach more people (its sold out 3 times previously) and hopefully have an even bigger impact. I hope the opportunity will further the conversations on identity, mental health, and to show Black boys they’re represented and understood.
What is the most common thing audiences come up to you and say after seeing the show?
People often tell me how deeply they were moved by the play’s powerful, joyful and hopeful portrayals of Young Black men. They often express appreciation for the authenticity of the characters and the rawness of the emotions depicted.
How would you sum up the show to people who don’t know what they’re in for?
I’d describe the play as a joyful, magical, poetic, and beautiful experience that uses vibrant characters, and lyrical language, to weave a spellbinding narrative that captivates audiences while delivering profound message about resilience, identity, and the human spirit. Can you talk a bit about the acting style please?
There’s a real informality to the show, how did you devise that for the stage?
This informality is achieved through working with the actors to find their own voice. I can’t teach/direct a Black boy how to be a Black boy so naturally elements of the actors coincide with the characters they depict. Also interactive elements with the audience, and breaking the fourth wall with humour, or cultural references help contribute to creating a more informal atmosphere. Ultimately, these elements work together to make the audience feel like they’re part of an intimate and engaging conversation, rather than just passive observers.
What are the biggest questions at the heart of the play?
The play tackles some big questions like: What’s it like being Black and male today? How do stereotypes affect mental health? And how can communities support Black boys? It’s a thought-provoking ride that sparks conversations in a way that feels real and relatable, inviting audiences to confront and engage with complex issues while prompting deeper reflection on the ways in which society shapes individual experiences and perceptions of self.
And it’s all about smashing stigmas, right?
Exactly! smashing stigmas surrounding mental health, whilst boldly confronting taboos, challenges and societal norms. I hope to encourage an open dialogue that promotes healing and empowerment.
