Joy Nesbitt's play Blood of My Blood, now running at the Royal Court Theatre until November 7, examines the enduring legacy of slavery through two interconnected time frames. The production asks what we inherit from the past, how we challenge injustice, and what we need to feel a sense of belonging.
A Journey from Shepherd's Bush to South Carolina
The story follows Talulah (played by Jodie Campbell), who has left Shepherd's Bush for Bullock Creek, South Carolina, in search of answers. She stays in a cabin on a former plantation, now run as an Airbnb by its owner Nora (Hannah Morrish). The cabin once housed Talulah's ancestor Ginnie, portrayed with assurance by Ronkẹ Adékọluẹ́jọ́, an enslaved woman who lived there more than 150 years earlier.
Ginnie bore five children fathered by her owner, Doc Good (Patrick Vaill), an Irish Confederate referred to as “massa.” Vaill's portrayal captures a man who is generous with drink and random acts of kindness, yet controlling and possessive. His treatment of Ginnie as property adds a palpable menace to their scenes together, making the power imbalance starkly visible.
Emancipation and an Unexpected Choice
When emancipation arrives in 1862, Ginnie makes a choice that defies expectations. Nesbitt handles this pivotal moment with subtlety, avoiding melodrama while keeping the emotional stakes high. The play also incorporates conjure, an African American spiritual tradition, as Talulah attempts to communicate with Ginnie across the centuries. What could have been a gimmick is treated pragmatically, keeping the encounter grounded and naturalistic.
Nesbitt leavens the script with wry humour, particularly in a wonderfully awkward scene where Nora and her history lecturer husband James (also played by Vaill) discover they share a heritage with Talulah. The cast is completed by Karene Peter as Ginnie's feisty friend Bertha, whose energy adds warmth and resilience to the narrative.
Production and Staging
Director Tatenda Shamiso's brisk production unfolds on a traverse set, with Natalye Pryce's cabin design at one end and a patch of grass with a tree at the other. This staging creates a visual contrast between the domestic and the natural, reinforcing the play's themes of rootedness and displacement. However, with unreserved seating, audience members sitting too far to one side may find themselves with a stiff neck, as the action shifts between the two poles of the set.
The performances are uniformly strong, with each actor bringing depth to their roles. Campbell conveys Talulah's determination and vulnerability, while Adékọluẹ́jọ́ imbues Ginnie with dignity and complexity. Vaill's dual role as Doc Good and James highlights the echoes between past and present, and Morrish's Nora balances breeziness with underlying tension.
Blood of My Blood is a thoughtful and accomplished work that uses its historical frame to reflect on contemporary questions of identity, inheritance, and justice. It is a compelling addition to the Royal Court's season, offering audiences a chance to engage with difficult history in a nuanced and humane way. The play runs until November 7, with tickets available via the Royal Court Theatre's website.
