Crazyblackmuthaf***In'self ( Archived )

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Pictured (LtoR): Nitzan Sharron (Danny); Paul Ready (Colin), DeObia Oparel (Femi); DeObia Oparel (Femi), Jo Stone-Fewings (Raef).

Photography by Pete Jones.

Director: Josie Rourke, Design: Rae Smith, Lighting: Chris Davey, Sound: Ian Dickinson, Composer: Siemy Di, Urban Music Consultant DJ Merran. Cast: Nathalie Armin, Siemy Di, Sophie Dix, Philip Grout, Paul Hickey, DeObia Oparei, Paul Ready, Nitzan Sharron, Jo Stone-Fewings, Clive Wedderburn.

Nothing quite like this boisterous, gay romance, this cross-dressing farce with a serious sting in its swishing tail, has ever hit the Royal Court stage or any mainstream London theatre. It unites the worlds of theatre and rent-boys in the spectacular shape of Femi, a black, chameleon actor who rehearses Othello by day and works as a transvestite rent-boy by evening. Do not, though, assume that the aggressive, asterix-laden title promises an evening of no holds or holes barred. Prepare instead to take DeObia Opareis play, which tends to sexual caricature and over-elaborate plotting in Josie Rourkes buoyant production, as an amusing, alternative Christmas pantomime.

EVENING STANDARD

Crazyblackmuthaf***inself turns out to be something special. Those who are squeamish about bad language and graphically simulated sex should give it a wide berth, but an original and generous talent lurks beneath the plays mischievous desire to shock. the play is also touching. Oparei seems as interested in heterosexual characters as in gay ones, and he lavishes as much time on his white, Jewish and Asian characters as he does on the black ones. There is an inclusiveness about his writing, a ribald humour, and a warmth, that I find deeply appealing.

‘The play confronts questions of racial and sexual identity, and the way we all present different aspects of our personality to different people. Hes also both perceptive and funny on the wigga phenomenon confused young whites who wish they were hip young blacks.

‘ Josie Rourkes crackingly well-acted production does full justice to the pieces rawness, sexiness, outrageous humour and sheer heart.

DAILY TELEGRAPH

wild, raunchy and funny Josie Rourke directs it all with lubricious glee, and Opareis shapeshifting hero is equally imposing as massively martial Othello and magic-dispensing callgirl in pink pants. There is also good work from Jo Stone-Fewings as a public school Iago secretly dying to be a black hipster, and from Paul Ready as a Liverpool drag queen aching for true love. Siemy Dis live music spicily punctuates a play that, while preaching a sexual and racial sermon, adopts much more than a simple missionary position.

THE GUARDIAN

As an alternative to schmaltzy Christmas pantomimes, DeObia Opareis debut play takes some beating. Its an exuberant whirl of dildos, drag outfits and frantic shagging in which Oparei takes the lead role of a man who is alternately Femi the loving Nigerian son destined to marry, Laurence the well-spoken classical actor, Big Black Jungle Nigga the macho rent boy, and Shaneequa the transsexual callgirl

‘ The message behind the madness is, of course, one of identity: as black men have to adopt so many guises to get by in this society, they are in danger of losing touch with who they really are. Its taken to extremes here but still powerfully conveyed. It is also a brave attempt to foreground a rarely heard voice, that of the gay black man, and for that it should be celebrated.

METRO (LONDON)