All rise, as the Supreme Court of African Justice is now in session, for the trial of black Everyman figure Ragamuffin. On second thoughts, take a seat, as this interminable piece will weary even the stoutest of hearts with its endless reworking of the same, albeit interesting, material.
"Revolutionary or criminal - your decision" is the cry. While references to the 1985 Broadwater Farm riots (following the police's treatment of a seemingly innocent black woman, which is recreated here superbly) support the defence's contention that Ragamuffin is simply a victim of a harsh, racist state, writer/director Amani Naphtali gets carried away by his determination to discourse on the Haitian Revolution (1791-1804).
We understand that Ragamuffin has no loyalty to a collective ideal without having to sit through countless scenes of revolutionaries in silly hats and - mon Dieu - even sillier 'Allo 'Allo-style accents. The second half is almost a reworking of the first, but there are at least other diversions.
Mykaell Riley has composed and arranged some excellent reggae and hip-hop, which is played from the decks (cleverly positioned in a corner of Remi Vaughan-Richards' courtroom set) by DJ Djedi and MC Keety General, and performed by various cast members.
A policemen's rap, in which three members of the force (led by a spirited Benji Reid, whose doubled-up performance as Ragamuffin sadly lacks such charisma) sing "I wouldn't give a penny for a black man's life" to the tune of Any Old Iron, is the highlight of the evening.
But be warned that this comes early on - and that an incongruously upbeat, Baptist-style, Gone with the Wind-inspired Tomorrow's a New Day singalong lurks at the finale.
Ragamuffin
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