Tones: A Hip-Hop Opera at Summerhall – Edinburgh Fringe review

Picking up the Best Book and Lyrics at the Black British Theatre Awards and bagging a nomination for the Stage Debut Awards, it’s hard to deny the raw talent of Gerel Falconer, in this hour-long tale playing in Summerhall’s Roundabout. Falconer adds an excellent new account to the often under-explored (especially in mainstream theatre) topic of colourism, as well as the ways in which class and upbringing can shift experiences as a Black man.

Proven to be exceptionally talented in school yet seeing those more affluent than him excelling without the same innate academic ability, our protagonist Jerome is forced to take the hard route to higher education, ploughing his way through A-Levels to Durham University, all while cultivating an alter ego as grime artist the Professor.

Indeed, the show surges into gear in the middle third as Jerome reaches late adolescence, finding his voice just as those around him find the words to pull him down. “White boy”, “coconut” he’s branded. Falconer’s witty lyricism energises the tale, and we really do root for the guy as he faces put-down after put-down, especially when coming face-to-face with the past as he heads north from London to study at uni.

Director Jonny Kelly keeps the direction relatively straightforward, never letting the production overshadow Falconer’s talent. The problems arise from a technical bug or two – 3D Williams’ cracking compositions feel too quiet, occasionally under-orchestrated and undercharged in the Roundabout space, losing their heft without some extra bass or volume. Secondly, the whole show seems to end too abruptly – a mournful eulogy that feels as though it leaves a plot beat or two untapped.

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