Although the author’s name appears in the title, Floella Benjamin’s Coming to England is a curiously impersonal play. The need to retain the interest of a young target audience results not only in an early start but a relatively short running time, so some potentially interesting areas are not explored. None of the characters moving to Britain seem to regard it as an ideal location, so their bitter experiences do not result in a growing sense of disillusionment.
In the opening minutes of the play, the staggering list of Floella Benjamin’s achievements are summarised: the first black presenter on TV’s Play School, meeting the late Queen, elevation to the House of Lords, unveiling a statue to the Windrush generation. David Wood’s adaptation of Benjamin’s autobiography, however, is largely concerned with her early years rather than her later triumphs, so the play becomes a generic story in which Benjamin serves as an everyperson representing the common experience of immigrants. Although Floella’s starring role on television is reflected in the stage being framed as a giant TV screen, her work on TV is mentioned only in the opening sequence.
Floella Benjamin (Julene Robinson) and her siblings enjoy life in Trinidad. However, her father is ambitious to make his living as a jazz musician and, despite the reservations of his wife Marmie (Maryla Abraham), decides the family should emigrate to Britain. Encountering institutionalised racism at school and casual abuse on a daily basis, Floella resolves to develop a positive attitude and combat problems with a smile.
Although Julene Robinson leads the cast, the play is very much an ensemble achievement. As the play is a child’s-eye view of events, director Denzel Westley Sanderson sets an energetic, rapid pace appropriate for children at play. The cast are in constant motion, pushing and shoving each other like squabbling siblings, which ensures the momentum never lags for a second. The anecdotes address the interests of the youngsters, including the perils of visiting an outside toilet at night.
The general rule is when in doubt, sing, making the play close to an opera with the story conveyed in the form of music. An amusing example of culture clash is the Benjamin family bringing their exuberant Caribbean celebrations to a sleepy English church. A particularly powerful contrast is the song "Brown Girl in the Ring" sung as an innocent nursery rhyme in Trinidad but an intimidating racist chant in Britain. Notably, Julene Robinson’s accent shifts towards Received Pronunciation after Floella is scolded by her teacher and compelled to assimilate into the UK community.
The tone is educative. The young audience may become aware for the first time of the brainwashing effect of colonisation, as Trinidadians are educated about the British Empire but not their own culture. Extracts from government literature at the time advising immigrants certain racist phrases are just normal terminology and not intended to be offensive are recited. Although the stage set is bright and colourful for scenes in the Caribbean, adaptor David Wood resists the simplistic approach of making it seem paradisiacal—the foster parents who look after the children while their parents settle in the UK are exploitative and abusive.
This bright, high-energy production will make palatable for young audiences a history lesson on the impact of colonisation and the corrosive effect of institutionalised racism. Older audiences might regret the lack of detail on the life of Floella Benjamin but can still enjoy the terrific music.