📍Jermyn Street Theatre, London

⭐ ⭐ ⭐

Little Brother is one of those stories which sits in a perfect cross-section between feeling very personal, and profoundly universal. Adapted from the acclaimed memoir of the same name, Little Brother tracks the life of Ibrahima Balde as he searches for his younger brother across the African continent, eventually crossing the sea into Europe to arrive in Spain as a refugee. It is a harrowing, inspiring tale showcasing the power of love and determination through some of the worst adversity one can imagine. The cast of five bring this extraordinary tale to life, and while the actors do justice to Ibrahima’s story, the emotional levity of this modern odyssey sometimes misses the mark with this production.

Adapted for the stage by playwright Timberlake Wertenbaker, and directed by Stella Powell-Jones, Little Brother frequently switches between monologue-style direct address from Ibrahima and vignettes of action bringing to life his experiences. Although the pace begins fairly slowly, it soon picks up as the world of Guinea – Ibrahima’s birthplace – is brought to life on stage. This world-building is also credit to the cast of five who multi-role fantastically, aided by costume designer Maariyah Sharjil, and Natalie Johnson’s striking set design which bathes the stage in a striking sunburnt orange. Overall, the visual effect is impressively visceral for such a small theatre space.

Gyabaah barely leaves the stage as Ibrahima Balde; he establishes the protagonist as a charming, humble young man, and throughout the performance offers as much emotional depth as the staging allows him, playing Balde with a beautiful subtlety. Despite the intensity of Ibrahima’s journey, Gyabaah is relatable and entirely believable. He captures the audience in his grip during lengthy monologues and impressively does not miss a beat. The small ensemble who multi-role as Ibrahima’s family and various people he meets along his travels add vibrancy through their numerous characters which demonstrate the best and worst of humanity. Where the story – which has all the ingredients to be profoundly moving at several junctures throughout – feels emotionally limited is in its staging and structure. The entire tale is framed by a conversation between Balde and Amets Arzallus Antia (Balde’s memoir co-writer), though this convention is set up and then swiftly abandoned until the very end; characters come and go so quickly that it is difficult for the actors to develop an emotional arc for them; odd and stilted staging sometimes undercuts would-be powerful moments. There are beautiful moments throughout, both visually and in the writing, which the actors do absolute justice, but the atmosphere on stage often feels mismatched to the epic proportions of the story being told.

That being said, Jermyn Street Theatre couldn’t have timed this production more perfectly: hearing the tribulations of a refugee and the physical and emotional lengths they travel to strive for a better life is always important to amplify, but it feels especially apt now. As discourse around refugees becomes uglier, and the far-right’s voice seems increasingly louder, stories like Ibrahima’s are a crucial humanizing of an issue which many find tricky to navigate. Little Brother reminds us that at the heart of these issues are people – just like any of us. One particularly powerful meta-moment of the play was at the end, when the actors spoke of the production itself, underpinning its importance through highlighting the injustice of the real Ibrahima being denied entry to England to watch this very production. The declining letter is read aloud to the audience in a gut-punch ending – a bold and well executed move.

Little Brother plays at the Jermyn Street Theatre until 21st June, 2025

🎟️ Tickets and information: https://www.jermynstreettheatre.co.uk/show/little-brother/