Nine Night by Natasha Gordon
At the Dorfman
12th May, 2018
“We are all fragments of someone to feel so disjointed”
Nine Night, also known as Dead Yard, refers to a Jamaican custom of nine nights of official mourning following the death of a loved one with lots of friends, food, drink, and dancing. The final night, Nine Night, is the most important: it’s when the spirit of the deceased is given a final farewell, and encouraged to leave the house.
Natasha Gordon’s nerve centre is the recently deceased Gloria, a Londoner whose roots lay in Jamaica. All the events take place in Gloria’s home, and as her dead body lingers upstairs, we meet her assorted family members: her cousin Maggie and Maggie’s husband Vince, her children in the UK, Robert and Lorraine, Robert’s (white, English) wife Sophie, Lorraine’s daughter Anita, and the daughter she left behind in Jamaica, Trudy.
Cecilia Noble (Maggie) delivers a tour de force as the nit-picking hypochondriac. Her eccentric habits of expression make her interfering comments hilarious. We watch her recharging herself to deliver her memorable one liners, noting that the Freedom Pass was the “Only decent ting me gat from dis teeving gov’ment.” And later, she worries that her dead sister’s bird’s-nest hairdo may “frighten Jee Suss!”
The play’s Caribbean humour is sometimes lost on a European audience which makes me smile. On the one hand, the Jamaican patois takes some time to adjust to. Nevertgeless, it is deployed effectively with Maggie’s Jamaican verbal acrobatics. Her ripostes create moments of complete hilarity, supplemented by her personal injections of wisdom: “Be careful, not carefree”; “When yuh get to Heaven, yuh see, God will deal wid yuh”; “Save yuh eye water, niecey”. The linguistic mix of English and the West Indian verbal rhythms gives conversation sheer energy as well as a shared cultural delight in observing Jamaican mannerisms or cultural rituals which are lost on the world outside. Continue reading Nine Night