Home

I've been waiting to see 'Home' for months and every time it's been sold out. So, when the National Theatre released two extra dates, I jumped at the chance (Thank you Kamal for your persistence on the phone)!

Living and working in East London meant that 'Home' was extremely relevant to me. It certainly packs a political punch too. In a world where getting on the housing ladder is something we've all given up on committing to any time before we're 30 and owning a house is now a nothing but a make-believe ending to popular myths and fairytales, 'Home' gave us all something to think about.

The play follows the tenants of high-rise hostel 'Target East'. We never really know the names of them all which for me, actually added to play's theme of homelessness and identity. We have a character who refuses to open his council tax letters but doesn't want to call the hostel his home. There is the boy that sings, and all he wants is his name in lights, but a roof over his head is the first mountain he has to climb. There is the gardener who wants nothing but safety for his little brother. There is the young mum who wants a safe environment to bring up her child in. What are they dreaming of - those keys to their own place.

With original music, lyrics, spoken word, movement and a fantastic vocal beat-box performance 'Home' threw us into the extremely relevant issue of young teens who have nowhere to go but to hostels where funding cuts are destroying hopes and lives.

The show begins in the entrance to the performance space, that has by the way, been completely transformed to mirror the entrance of our hostel. It sets us in a place where we become immediately involved with the piece, as we can no longer separate ourselves by location. We are there, they speak to us. A marvellous piece of set design by Ruth Sutcliffe that particularly played with our audience psyche.

Antonia Thomas: nationaltheatre.org

There were some brilliant performances all round. Antonia Thomas was surprising for me as she portrayed a vulnerable Asian mum and the Eritrean girl with a shadowed past. It was extremely moving to hear her tell the story of Eritrean girl's journey into the country and how she was forced into compromising situations that were both physically and emotionally traumatising. Her singing voice was not only full of raw emotion that brought shivers to my spine, the tears rolling down her vulnerable face as she lay on the ground recalling her experiences, were a brilliant reflection of an extremely talented young actress.

Another great performance came from Grace Savage, with her beat-boxing talents that provided the cast with some sophisticated accompaniment to their lyrical flair. She even convincingly put her mouth to mic to imitate the crying of a baby - made me listen twice. Adding to her character is the fact that we never hear her speak normally, perhaps a representation of how people in similar positions are often silenced or ignored, not listened to because of the situation they find themselves in. Do we ever really ask those in trouble to tell about their problems, and when they do, how often do we actually listen?

I loved the conversational dialogue but it could have almost killed me, wanting to know who they were all talking to. Was it us? Are the audience playing a part as the media? the whole play was not only extremely relevant and 'down with the kids' it was swimming with political prose, mastered skilfully by the actors.

Toby Wharton gave an almost Andrew Garfield-esque performance. He edged a naturalness, a sincerity and a stance much like our new onscreen Peter Parker in his early days as 'Boy A'. Even the harsh cockney accent offered a soft and playful vibe that eked an innocence and naivety. He spent most of his time in the garden, as it relaxes him, frees him from the strain of responsibility and interaction with those that frighten him. You want to scoop him up and hug him.

And then it comes. The thing they've all relied on. The thing they've bragged out, complained about, laughed at, live at, 'Target East' loses it's funding and in turn, most of it's young tenants. Wharton's character whom we love so much, makes a prompt exit from the play as we are told by Sharon (the under-appreciated Ashley McGuire) he committed suicide.

It is an end none of us wanted to see, although one we all saw coming. I sat there clutching Kamal's arm knowing that we are looking for a house to move into together in the coming months. The uncertainty of that, and the choral harmonies of the cast, moved me to tears. That I did not expect, nor intend to happen.

The script is one we forget to question. The performances of all members of the cast were endearing and we became almost a part of their story.  Michaela Coel truly represented that youthful and positive spirit that young people have when faced with a fight. She was the perfect portrayal of those people who find themselves in hopeless situations and yet cling on to hope, allowing others to bask in their positivity.

The Shed is emerging as a political punchbag, hosting some mighty productions with the brightest of young talents. It reeps political, historical and social relevance and 'Home' stands out as one of the best I've seen so far.