Driftwood at the RSC’s The Other Place – review

The sounds and sights of Trinidad are ever-present in this new, ambitious play by actress-turned-playwright Martina Laird, brimming with the heat, patois and Afro-Caribbean-influenced songs passed down through generations.

This debut from the Trinidadian-British actress, who rose to fame as Comfort Jones in BBC drama Casualty, is set amidst the dying days of the empire in the Caribbean bolthole. Colonialism and escaping the servitude that comes with it are all woven into Driftwood’s taught family drama about long-lost son Diamond surprising the mother who gave him up. There are even shades of Tennessee Williams in femme fatale Ruby and the cocoon of ravaged, jaded characters, all tarnished but battling on in 1950s Port of Spain amid political change.

Driftwood has already earned praise as runner-up in the 2024 Verity Bargate Award. Now the RSC, where Laird has starred many times, including in The New Real in 2024, has taken a punt on it, creating its first full production at its more experimental venue, The Other Place. It is staged in association with London’s Kiln Theatre, where it runs for a month from 3 June, and is directed by another RSC alum, acclaimed Chichester Festival Theatre’s artistic director Justin Audibert. Yet it feels as though Audibert has come a little unstuck with Driftwood. While the plot is intriguing, the pace on stage isn’t fast enough and it often stutters.

Nevertheless, there is still a lot to like about this adaptation, especially the authentic performances and how much is often left unsaid. Hints are made impactfully but not spelled out about how the women make their money and Ruby’s connection to Roger Ringrose’s character Mansion – an ageing, pompous British colonial cliché in a white suit.

Ellen Thomas beautifully portrays the subtle complexities of Pearl. She’s a disillusioned mother interested in political change, while her young adult children prefer ties to the old establishment. More often heard sucking her lips, she’s at pains to show affection for her offspring and she feels realistic.

Martins Imhangbe, fresh from playing Will Mondrich in Netflix series Bridgerton, gives tormented Diamond many layers and comes into his own after the interval. He’s trying to rebuild relationships with his family while brokering a deal with Ziggy Heath’s slick and crooked US Navy sergeant.

Getting in the way of that is Cat White’s seductive and ruthless Ruby, Diamond’s vibrant half-sister. White has the right poise to carry it off, but often looks as though she’s concentrating too hard.

Set and costume designer Sadeysa Greenaway-Bailey helps reimagine the fading beauty in Trinidad and is worthy of a mention for the impressive stage design, which is simple but effective, using French and British Colonial architecture for the family’s Alma gentlemen’s club.

Driftwood does have very adult, sexual themes that casually surface throughout, which make this show recommended for those aged 14 and above. This riveting tale is a promising start for Laird as a playwright. It’s often fascinating and a legitimate take on Trinidad’s colonial past. It just needs a touch more urgency about it.