Credit Johan Persson
In 1950s America, protests for racial equality erupt in the face of voter suppression.
On Broadway, Wiletta Mayer, a talented black actress, begins rehearsals for a new play about racism – written and directed by two white men.
When Wiletta finds that her arguments to tell the truth of the story are dismissed, she decides to take action.
This revival of the 1950s classic Trouble in Mind currently running at The National Theatre shows that the issues surrounding race and fake activism are as prevalent now as they have ever been. Alice Childress’s play proves timeless in this hilarious and highly relevant revival. It is a story that tackles the complexes of black performers who rely on employment from white people and how they manage those tricky power by code-switching and playing up to stereotypes of their employers to survive.
The space has been set up in a way that lets the audience feel like they are really part of the action, as sometimes they are. It feels surprisingly intimate in the large space so you do feel as though you are having a window into the private conversations backstage. It’s a performance that quickly goes from laugh out loud funny to breath-holding tension on the turn of a dime.

Credit Johan Persson
The themes of the need for code-switching as a black person in a white man’s world, and of white people speaking on behalf of black people instead of listening and amplifying black voices are unfortunately still highly relevant. The audience can’t help but get frustrated and angered at the fake activism of the director and producers in this performance and ask themselves where we’ve seen this mirrored their our own lives
The cast is strong throughout but Tanya Moodie steals the show in her role as the complex and vivacious Willette Mayer and her ending of the show proved really powerful. Trouble in Mind is a fast-paced, witty, dynamic, hilarious and touching performance that is a must-watch. It is on at the National Theatre until the 29th of tickets start from £20 and can be booked through the National Theatre website.



Tickers were gifted in exchange for a review, all words and opinions are my own

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