The Fellowship at Hampstead Theatre

Last Updated on February 15, 2026

Roy Williams’ new play is a creative and moving study of black identity in modern Britain.

The Fellowship is a new play, debuting at Hampstead Theatre, about the relationships between generations. Often tense and constantly struggling to align visions of the world and black identity, the relationships between three generations of British West Indians in The Fellowship are intricately drawn – equally aware of the differences that are tearing them apart and the similarities that are inescapable. Roy Williams’ (Death of England, Delroy) writing is, at times, desperately sad. The result is a moving, bittersweet account of the evolving place of black Brits and the intergenerational strife that occurs in every family.

The presence of the three generations is in the writing and on the stage at all times. Most of the action occurs between sisters Dawn (Cherrelle Skeete) and Marcia (Suzette Llewellyn) in Dawn’s apartment. Skeete (The 47th, The High Table) and Llewellyn (Electric Rosary, Running with Lions) have an utterly convincing – both affectionate and tense – chemistry, made even more impressive by Skeete’s late introduction to the role due to the indisposition of Lucy Vandi. Both actors switch between South London and Jamaican accents, in contrast to their mother (solely Jamaican) and Dawn’s son (solely South London). In Libby Watson’s sleek set design, too, the generational hierarchy can be observed. Around the apartment is wrapped a curved staircase, ascending from the living room to the upstairs bedroom, where the matriarch resides. Outside, and one level down from the apartment, is where the dialogue between Jermaine (Ethan Hazzard), son of Dawn, and Simone (Rosie Day), Jermaine’s white girlfriend, takes place.

One can never escape the differences between the generations, and Williams’ writing works in harmony with Paulette Randall’s (2012 London Olympic Games Opening Ceremony, Dr Faustus) direction in this regard. Williams says in the programme that he could not have imagined anyone else directing The Fellowship, and one can see why. The Fellowship is as much about what is said between the characters – often explicit and heated debates about revolution – as what cannot be said – what can only ever be understood within the same generation. Randall deftly brings out this subtlety of Williams’ writing.

Sound is another essential component of this production. Delroy Murray (Fences, Anansi) combines modern tunes from Jermaine’s generation (Dua Lipa, Dave, etc.) with those of his mother’s (Boy George, Take That). Through music – usually initiated by Dawn or Marcia telling “Alexa” to play a certain song or playlist – is exposed Dawn’s “white tastes”. To her husband Tony (played impressively by Trevor Laird) these tastes are shamefully white. To her son and his girlfriend, it is just what she happens to like.

In a tragic plot which parallels the racist murder of Stephen Lawrence and the institutional racism of the Met exposed in its handling, as well as the political scandal involving Chris Huhne and Vicky Pryce, the way different generations of black Brits experience their place in an increasingly diverse Britain is brought into focus. Caught in between two worlds is the middle generation – between the West Indian origins of their parents and the Britishness of their children. This generation – both the men and women – is captured expertly by Williams. Not only what it means to be black, but what it means to be a black man, or a black woman – those complex intersections of identity – are seen in the language, the humour and the tensions between the characters. The younger generation is less well captured – but all this does is affirm the message of the play itself: perhaps there really is something about the younger generation that the older does not quite understand.

The Fellowship aims to tackle countless issues about Britain, black identity, intergenerational strife, womanhood, manhood, adolescence, politics and grief. To deal with all these issues, without leaving the audience feeling that anything has been insufficiently addressed, is impressive. Including some wide-ranging emotional performances and innovative use of sound and space, Hampstead Theatre is once again hosting a creative, educational and moving study of identity in modern Britain.

The Fellowship at Hampstead Theatre runs until 23rd July. 

Book tickets at Hampstead Theatre.

Eton Ave
Swiss Cottage
NW3 3EU

Looking for something different?  Check our review of  The Turn of the Screw at Garsington