THE COMEUPPANCE
by Brandon Jacobs-Jenkins
directed by Eric Ting
Almeida Theatre, London – until 18 May 2024
https://almeida.co.uk/whats-on/the-comeuppance/
The idea of death being present in all things and at all times, sometimes quite tangibly as the scythe-carrying Grim Reaper, was a constant preoccupation in the medieval ages but less so for subsequent generations. The concept, tuned out ana anaesthetised for so long with mass media and the horrors of history, made a brief reappearance for many people during the Covid pandemic as mortality encroached naggingly on the minds and consciousnesses of a global population, particularly in nations, such as the USA and the UK, that pride themselves on being advanced specimens of human civilisation. Brandon Jacobs-Jenkins taps into this in his thought-provoking but richly enjoyable play, first seen off-Broadway last year in a production from which some of the creative team are recreating their work for this London premiere.
Death isn’t listed in the dramatis personae of The Comeuppance but bursts out of the mouths of the five human characters who pop out of the play at regular intervals to deliver monologues on mortality. As personified in Jacobs-Jenkins’ writing, Death isn’t necessarily malevolent, but more wry, reflective, dispassionate, cajoling even.
The premise is that this group of former classmates are meeting for a pre-party prior to their 20th anniversary school reunion. They’re living in the post-Covid era but they each have their own additional crosses to bear: hostess Ursula (Tamara Lawrence) has lost the sight in one eye to diabetes, artist Emilio (Anthony Welsh) has a rootless, lonely existence overseas in Berlin, Caitlin (Yolanda Kettle) is in a loveless marriage and with step kids she hates, her former flame (one of many, apparently) Paco (Ferdinand Kingsley) is traumatised by military duty in foreign war zones, and doctor Kristina (Katie Leung) has a serious drink problem.
So far, so dysfunctional, but Jacob-Jenkins fleshes this disparate bunch with such bleak humour and fascinating backstories that it’s impossible not to be fully engaged. If this self-proclaimed “multi ethnic reject group” is a little too pat in its representation of a polyglot America (the recurring visual motif of an apocalyptic wind ripping through the Stars and Stripes banner also feels a little heavy handed), they’re so well written as individuals and their longstanding relationships and mutual grievances feel so convincing that The Comeuppance remains fully engrossing, even as its savagery threatens to give way to sentimentality in its latter scenes.
Not many plays, as yet, have dealt with the trauma following the world shutdown and mass deaths caused by Covid. The Finborough hosted James McDermott’s Jab earlier this year which dealt with the reaction of a middle aged British couple to the pandemic, but The Comeuppance feels more expansive and universal. It’s not as shocking as the same author’s Appropriate (currently enjoying an acclaimed Broadway production) or as inspirationally crazy as his An Octoroon, but it shares much of the same theatrical imagination, as well as the laudable ability to make deadly serious points while being immensely entertaining. It certainly cements Jacob-Jenkins’s reputation as one of the greatest American dramatists currently at work.
The acting in Eric Ting’s propulsive but sensitive production is impeccable. Not a single false note is struck, even when the characters are at their most outrageous. The American accents are also flawless, which is especially noticeable given that the actors deliver their Death speeches in their own voices. Technically, Arnulfo Maldonado’s designs, Natasha Chivers’s lighting, Emma Laxton’s sound, and the special effects by Skylar Fox and William Houstoun, are all ingenious and noteworthy but never at the expense of the integrity of the script or this brilliant cast.
The Comeuppance is a chilling blast of a play, shot through with genuine belly laughs and shudders of recognition. It interrogates how our past experiences mould us, how striving to find the past in the present is doomed to failure or at least discontent, and it has a quizzical semi-hopeful ending. A fine, funny, troubling evening.