Stan’s Cafe Theatre, Birmingham, is rooted in the community, so it's no surprise that they have taken the local story of Trevor Prince, a gospel guitarist and one of the first black police officers in the West Midlands, who passed away in 2019, as the stimulus for their latest production,
An action-packed kaleidoscope of social interactions
It's the 1980s and social unrest is rising in Thatcher’s Britain. Trevor King (Reisz Amos) decides he can best help his community by joining the police force, where people of colour are not just underrepresented but almost non-existent. Over the course of two hours, we journey with him as Community Service develops into an action-packed kaleidoscope of social interactions drawn from his multifaceted life that presents challenges on multiple fronts. Scene and costume changes abound as locations are created and revisited and the cast take on multiple roles. Full marks to Jhalesa Hewitt, who with Kay Wilton manages a vast wardrobe and Company Stage Manager Immy Wood and Technical Stage Manager Mya Forde for holding this together.
We become immersed in an array of social interactions around the neighbourhood as we dash from home life to school kids on park benches, to officers patrolling the beat and to the local police station, where we witness chilling examples of endemic racism. The Handsworth riots and the miners’ strike become part of the narrative with slow-motion fight sequences spectacularly choreographed by Movement Director Paul ‘Steady’ Steadman. Conflict of a different kind emerges between two rival churches, as leaders and the family become involved in a debate about what sort of music God listens to, whether he might be offended by Bob Marley and whose music you should let your children play, as the sacred and the secular battle for supremacy. The latter stands as an example of the many pressures felt by traditional immigrant families as their children become immersed in contemporary British culture and attempt to take on the styles of their peers. We are also given insight into the conflicting pressures that King feels as he tries to reconcile his belief that it’s better for his community to have a member working on the inside of the police force than it is to stand on the outside condemning its often negative actions and attitudes towards minorities. Each of these forms a thread that runs through Community Service that is woven into a dramatic tapestry of events presented via the remarkable talents and versatility of actors Kianyah Caesar-Downer, Tinashe Darikwa, Yasmin Dawes and Dominic Thompson.
Throughout, the action is enhanced by the live band. However, the music and songs are not just an accompaniment that aids the flow of events, but are an essential and vibrant element at the heart of the play and are fully integrated into the storyline.The ensemble consists of Ashleigh Hepburn, Jamael Jarrett and CJ Thompson, led by Musical Director Reisz Amos (AKA Oddpriest) who ring the changes of traditional gospel music and reggae, that highlights the family’s Jamaican heritage, along with other popular genres. Further enhancing dimensions are added to the production by the Lighting Design, courtesy of Nigel Edwards, Projection Design from Michael Ellis and Graphic Design by Simon Ford. At this matinee, in the Belgrade Theatre, Coventry’s B2 studio. Hyacinth Powell gave an energetic BSL Interpretation that was a gripping performance in its own right.
There's a lot to take in. A couple of scenes in act two give some respite from the ever-changing settings and allow for greater depth to emerge in the story that contrasts to the earlier predominantly snapshot style. Perhaps some careful editing and restructuring of some scenes could enhance this aspect of a lengthy show. Overall Community Service is a testament to the power of collaborative working and multi-disciplinary theatre that draws on those who serve the community.
