Actor Tobi King Bakare’s writing debut tells a raw, honest, one-man story of masculine silence and what it takes to express the emotional struggles plaguing black men.

Before I Go draws on Bakare’s charm and multiskilled talent to navigate a profound story about a young black man struggling to express his emotions and the consequences of this repression. Ajani (Bakare), famous for his barbecue cook outs, finds himself in Limbo after being electrocuted, and the only way to return to his body is to face his emotions and heal through expression.

The play isn’t a tired story, nor is it a tragic one. The creative approach shines through the voice acting by ‘the messenger’ – a pseudo-angel figure whose sole role is to offer a non-judgemental platform to process his predicament. The messenger feels like a counsellor and a friend, probing with leading questions that ease Ajani into opening-up about his loneliness. “What would you say to your mother?”, the messenger asks, and Ajani pours out that his mother is barely home because of long hours at work, and his older brother is in prison after getting a life sentence for a violent robbery. Through this friendly connection, Ajani is able to journal, talk, and even dance through his emotions. It’s a joy to watch the movements of tender caresses matched by physical leaps to electric live drumming (a shame the drummer isn’t credited). Ultimately, confronting a failed romantic relationship that left him unable to cry, is his saving grace.

Before I Go is a brave, touching journey of self-awareness, healing, and overcoming. Ozioma Ihesiene’s clever direction ensures moments of comedy flow into drama with ease. There is great chemistry between the messenger and Ajani, an impressive feat as the messenger is voiced by Bakare himself in formal, RP speech. The rhythmic spoken-word dialogue also lands well, despite being obscured at times by the drumming. Whilst a monologue where Ajani explains reasons behind black men lacking emotional vulnerability (absent fathers, discriminatory education systems, state violence etc.) is moot, the justifications feel redundant as the play expertly establishes these very issues. Yet it doesn’t undo the brilliance of the play, which remains a raw and honest feat of black masculine vulnerability.

Check out more from Theatre Peckham | Find out more about Tobi King Bakare | Ozioma Ihesiene |
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