Small Island
A sweeping and emotionally resonant adaptation of Small Island, now playing at Birmingham REP, this ambitious production captures both the intimacy and scale of Andrea Levy’s much-loved novel. It is a piece of theatre that wears its importance lightly but never loses sight of its emotional core, offering a moving exploration of identity, migration and belonging.
Under the assured direction of Matthew Xia, the ensemble cast delivers performances that are both engaging and emotionally grounded. Daniel Ward stands out as Gilbert, bringing an infectious warmth and wit that make him instantly likeable. His performance provides a steady anchor throughout, balancing humour with moments of quiet resilience. Opposite him, Anna Crichlow’s Hortense is carefully measured and deeply nuanced. She captures the character’s initial rigidity and gradual emotional unravelling with impressive control, allowing the audience to witness her transformation in a way that feels both authentic and affecting.
Bronté Barbé brings depth and sensitivity to Queenie, avoiding cliché and instead presenting her as a complex, compassionate figure caught between worlds. Her interactions with both Gilbert and Hortense are particularly strong, layered with unspoken tension and empathy. Meanwhile, Toby Wester as Bernard delivers a convincing portrayal of ingrained prejudice and post-war disillusionment. Though the character is less dynamically written, Webster gives him a humanity that prevents him from becoming one-dimensional.
Visually, the production is striking and inventive. The staging (Simon Kenny) makes excellent use of a revolving, wood-panelled set that shifts seamlessly between Jamaica and post-war Britain. This fluid design allows scenes to transition with cinematic ease, maintaining momentum while also reinforcing the idea of interconnected lives and shared histories. At times, the movement of the set becomes a storytelling device in itself, reflecting the instability and constant change experienced by the characters.
Lighting (Ciarán Cunningham) plays a crucial role in shaping the atmosphere. Warm, golden tones evoke the vibrancy and openness of Jamaica, while colder, harsher lighting defines the bleakness of post-war London. These contrasts are effective in highlighting the emotional and cultural dislocation at the heart of the story.
The production’s scale is both its strength and its occasional weakness. It successfully conveys the epic sweep of Levy’s narrative, spanning continents and multiple perspectives, while still finding space for intimate, character-driven moments. Yet the pacing, particularly in the first half, can feel uneven. The reliance on narration and rapid transitions sometimes interrupts the dramatic flow, making it harder for certain scenes to fully land emotionally.
Despite this, the story itself remains profoundly impactful. Following the intertwined lives of Hortense, Gilbert, Queenie and Bernard, the production explores themes of race, identity and the search for home with sensitivity and clarity. What is most striking is how contemporary it feels; though set in the 1940s, its exploration of migration and belonging resonates strongly with modern audiences.
Ultimately, this production of Small Island is ambitious, thoughtful and emotionally rich.
This show was reviewed on the 4th April 2026 at the Birmingham REP where it runs until the 18th April 2026. Tickets can be found here: Small Island | Birmingham Rep
Review written by Emma Rowley
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Photo credit: Pamela Raith
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