Review: Shifters at Duke of York's Theatre
The sold-out play makes history in a brand-new West End transfer
‘Do you believe in destiny?’
That is the question playwright Benedict Lombe asks theatregoers printed across the Shifters West End marquee.
Transferring from the a sold-out premiere run at the Bush Theatre, the play is staged at the transformed Duke of York’s Theatre, where audiences are welcomed into a traverse auditorium in the background of an upbeat pre-show playlist (a frequent tradition at the Bush, multiple visits suggest). The added onstage seating surrounds a bare yet dreamy set, providing an intimate canvas for an enduring one-act journey through love and yes, destiny.
The two-hander revolves around childhood friends Dre and Des. Dre (Tosin Cole) encounters Des (Heather Agyepong) - whose name is synonymous with the central discussion in the play - at a school debate class, where a spark ignites to mark the end of a beginning - to be exact, a dynamic coming-of-age love story. This is an unconventional story perhaps, but it is one that opens itself to be led in unexpected directions; signified by non-linear jump-cut scenes, travelling back and forth between the present and flashbacks to various preceding time periods linking to a third theme of memory.
These themes, if anything, might seem vaguely out-of-place (almost as if dots are mapped across the stage awaiting connection) at first, with characters snapping in and out of conversations and monologues addressed to both sides of the auditorium; but a few scenes into what initially felt like a memory play, Lombe's one-of-a-kind writing genius reveals itself in moments that provoke brilliantly natural reactions.
TOP TIP: Read on for the Shifters official trailer 🎥
To visualise how these dots are connected through deliberately paced scenes, audiences are first taken back to Dre and Des’ sixth form days. A moment when eyes lock and a conversation begins, unlocking many moments of laughter, tears, joy, sorrow… everything experienced in a journey falling in love for the first time. But classic rom-com is not just the sole ingredient in this unique recipe - the young lovers (with Nigerian and Congolese roots respectively), albeit from different class backgrounds, are connected by a shared experience of loss in a new environment that forces them to accept and adapt.1
From here onwards, we follow a trail through time, which would eventually converge in the two meeting in the present day, after an extended period of separation when they attempt to reconnect, find each other and relive moments that brought them together over the years.
Not long into the play, it is made clear that the plot is not designed to make sense all at once - this is where creative geniuses behind the piece come into play once more. Lombe, in collaboration with director Lynette Linton, sets up the plot in a way that enables actors to play with the headspace of their characters, naturally using cross-cuts to their advantage.
Previously on at the Bush Theatre
Bringing these characters to life are Heather Agyepong and Tosin Cole, who generates ravishing chemistry upon first meeting. Agyepong leaves a lasting impression with an endearing gentleness to the emotionally complex Des, featuring not only crafted melancholy but also authentic portrayals of themes relating to mental health. Her performance is beautifully complemented by Cole's hilarious Dre, bringing a tender twist to the likeable personality, constantly catching us off guard in character with intentionally half-hearted lines that turns out to be totally unserious too.
But on top of an exceptional cast (complete with an equal number of one-liners from both), it is the product of their work with the creative team that fosters a genuine sense of community in the performance space. Within Alex Berry's glowing set invoking weightlessness (gorgeously lit by Neil Austin), one may well be able to hear the sound of a pin drop, such that in every action a character takes, audiences shift from audible gasps to outbursts of laughter, attributed not only to thoughtful character work but also a feat of seamless collaboration between the minds involved in shaping the piece to what it is today.
From Tony Gayle and Xana's mood building soundscapes - at one moment causing muffled singalongs to familiar tunes and releasing tension at another, to Shelley Maxwell's sensitive movement/intimacy direction, which allows the cast to comfortably explore the complexities of their onstage relationship.
Drifting out into distant memories and back again, the show takes us on an epic journey where words and motifs are scattered, separated and recollected all over again; there is the occasional moment when the link between some memories were initially ambiguous - which inevitably prolonged the 100-minute piece that may have benefitted from a short interval.
But with such powerful words that evidently connect with the audience in great depth, there is no doubt that this timely piece, both in terms of its highly relatable topics and efforts championing diversified voices in commercial theatre - Lombe is only the third Black British playwright whose work is presented in the West End2 - deserves every bit of success.
⭐ ⭐ ⭐ ⭐ (4*)
Shifters play at the Duke of York's Theatre until 12 Oct. For more information and to book tickets, visit the show website.
Tickets and Accessibility
🎟️ Tickets were kindly gifted by the press representative for the show. All views are my own, without any input or approval from the producers or venue. Standard tickets are priced from £20, with £25 rush tickets released at 10am on each performance day on the TodayTix app.
♾️ There are no sudden loud noises throughout the show. Blackouts occur at the start and end in line with a conventional theatre piece, with occasional music played in the context of the play at a soft to medium volume. All lighting fixtures are aimed at the stage.
Watch the official trailer for Shifters
Shifters, a Bush Theatre production, is lead produced in the West End by Eleanor Lloyd Productions, Chuchu Nwagu Productions and Sonia Friedman Productions.
Fraser, H. (2017) The Little Big Things. London. Orion Publishing.
Bakare, L. (2024) ‘We needed this’: UK audiences thirsty for black British love stories, says playwright. The Guardian.