After being greeted warmly by some members of the cast as I entered the theatre, I began to have a slight inkling that this performance was going to be a bit different from the norm. When asked if I wanted to take a seat actually on the stage, I knew this would be anything but a run-of-the-mill piece of theatre. I have to admit that I was a bit nervous about it - the other five members of the audience who were asked to take similar seats looked equally wary, especially when the actors asked us if we knew the lyrics to the songs we'd be singing, if we'd been told about the water-pistol section, and how brave we were to agree to strip on stage!听
Being right in the centre of things, so close to the actors and only just on the edge of the performance area, it almost felt as though I was part of the cast as the theatre lights dimmed and the play began. Slavery and Regency England The London Shakespeare Workout's (LSW) production of Black Atlas tells the true tale of two slaves - one from America, another from Africa. Fate throws them together in Regency England, where one is taught to read and the other (Tom Molineaux, the first black prize-fighter in England) isn't. Inspired by George McDonald Fraser's novel Black Ajax, the play spans three continents in a fast-paced 80 minutes, and mixes together dialogue, song and verse. The seven actors (a combination of professionals and trained ex-offenders) depict key historical individuals (Molineaux, King George III, Bill Richmond, Beau Brummell, Pierce Egan), and passionately bring the era - and its concepts of slavery and racism - to life. Exhilarating and intoxicating stuff Sometimes gripping and moving, other times uncomfortable and distressing, the play was powerful and intense throughout, and dealt with its subject matter confidently and maturely.
It was incredible to be on stage with the actors, so close I could see beads of sweat forming on their brow, together with every nuance of their facial expressions - it was exhilarating and intoxicating stuff. At the risk of being called a philistine, I have never seen a play quite like this. My only regret is that there weren't more people in the audience to share in the wonderful experience. No set, no scene changes, no costumes and no fancy production techniques, this was a raw and astounding piece of theatre that makes you think. And I'd definitely recommend sitting on the stage, if you're asked - they're the best seats in the house! | 
