Review: Family Tree Tobacco Factory Theatres

The highly anticipated Family Tree, written by Mojisola Adebayo, winds up its UK tour at Tobacco Factory Theatres in Bristol this week.

The play channels the energy of Henrietta Lacks, giving her the voice and space she was denied in the 50s when cells from her body were taken by medical professionals without her permission and sold for use in medical research.

Family Tree gives Henrietta back her identity. It creates an important opportunity to bring more authentic Black stories to the stage, inviting in the wider community to listen, to be entertained and to learn.

Photography by Helen Murray

It’s a fusion of poetry, performance and energy by Adebayo, and brought to life by director Matthew Xia. A safe space weaving together rich strands of African culture, historic injustice but ultimately ending in a beautifully uplifting and empowering way.

Henrietta Lacks is often described as an ‘immortal woman’ due to the harvesting of her cells which are still used in medical research today. Following on-stage urging within the performance, Google did indeed later show you can buy HeLa cells in the UK for £360 at the mere click of a button.

Internet ordering the cell line of a woman who died in the middle of the last century is frankly bizarre. That Henrietta had no idea what was going on and had not consented is disgraceful. Her family were kept in the dark for 20 years after her death, whilst others profited from something that was not theirs to take.

Henrietta’s story also encompasses the wider backdrop of the discriminatory and racist way Black people were used in the advancement of medicine, perpetuating myths which still impact upon their healthcare now.

Adebayo’s writing skillfully touches on these horrific experiences whilst also managing to keep it from turning it into the horror it would have been for them. We learn the stories of Lucy, Anarcha and Betsey. They were real women named in historical documents alongside the brutality they experienced. Their fear and agony portrayed on stage.

They were enslaved victims of James Marion Sims’ experimental gynecology surgery in the 1840s. Their experiences, when you dig into the finer details, are stomach churning. The Alabama surgeon also tested out barbaric surgical treatments on enslaved Black children.

They’re tastefully described as ‘surgical treatments’ online. This seems to be a palatable way of saying ‘whimsical torture’. These are true stories which over time have failed to make the colonial school curriculum, denying Black people of their heritage and tidying away uncomfortable truths for White people.

The dissonance between Henrietta’s medical non-consent and her astounding contribution towards saving lives sees her importance as an individual framed. Her impact on the lives of so many people who have benefited. Her legacy, which is a beautiful thing.

Connections are made with the Covid 19 pandemic, another place where HeLa cells were used to help others. This time in the development of vaccinations. Covid 19 was also another place where Black people were disproportionately affected in a detrimental way. This was both in terms of how the virus impacted upon the health of Black people. And the fact that one third of NHS staff is made up from Global Majority staff.

Simon Kenny’s set and Simisola Majekodunmi’s lighting design creates a natural garden, gently lit and forming an unearthly space somewhere between living and beyond. A place where the two meet. It’s haunted by a spectral Smoking Man – Alistair Hall. He’s a throwback memory of tobacco plantations. Marlboro Man. Burning crosses.

Throughout these themes run those of nature, water and the environment. A large tree formed like a DNA helix is part of the clever play on words in the title. It’s not just about family but also about growth, transformation and transitions in life. Trees live after death, never dying and becoming something more. Much like Henrietta.

In a celebration of life and love, Henrietta is finally welcomed by the goddess Oshun, bringing the immortal woman into the pantheon like a deity. Mofetoluwa Akande exudes beauty and power in the role, guiding the show to a powerful ending.

Aminita Francis is a force as Henrietta Lacks. Her beautiful acting forming the important bridge between Adebayo’s poetic and rhythmic script, bringing the audience into the fold and immersing them into this important story.

Mofetoluwa Akande, Keziah Joseph and Aimée Powell make up additional roles. A scene in which they discuss ‘Why People’ makes the audience both cringe and laugh at its truth. It’s far more valuable than a half a day training in unconscious bias. The audience laughs knowingly at that astute observation.

A post-show Q&A event enriched the performance with additional context and insight from the cast. Black Bristol artist Helen Wilson-Roe, gave an impassioned statement about her connection and work with the Lacks family as well as racism she has experienced in Bristol. Helen created the statue of Henrietta Lacks, which can be found locally at: 51°27’29.3″N 2°36’05.6″W

Representatives from Cargo Classroom including Lawrence Hoo, spoke about teaching resources they are developing in the city. They feature the perspectives of individuals from African and African Diaspora descent which is missing from the school curriculum. A resource on Henrietta Lacks will be available by the end of the year.

Family Tree is essential theatrical viewing. It’s a beautiful piece of work telling such an important story. This is Henrietta Lacks. She saves the world every single day and never realised.

Family Tree is on at Tobacco Factory Theatres until 17 June 2023

For more information or to book, visit: https://tobaccofactorytheatres.com/

For more information about Actors Touring Company: https://www.atctheatre.com/

Cast
Henrietta Lacks: Aminita Francis
Ain/Anarcha/Oshun: Mofetoluwa Akande
Bibi/Betsey: Keziah Joseph
Lyn/Lucy: Aimée Powell
Smoking Man: Alistair Hall

Creatives
Playwright: Mojisola Adebayo
Director: Matthew Xia
Set & Costume Designer: Simon Kenny
Lighting Designer: Simisola Majekodunmi
Composer & Sound Designer: Francesca Amewudah-Rivers
Movement Director: Diane Alison-Mitchell
Associate Director: Amelia Thornber
Costume Supervisor: Maybelle Laye
Production Dramatherapist: Wabriya King
Tour Casting Advisor: Matilda James CDG

Production
Production Manager: Matt Ledbury
Company Stage Manager: James Boyer Smith
Deputy Stage Manager: Eliott Sheppard
Lighting Associate: Tom Lightbody
Sound Associate: Clive Meldrum

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