“My yen-yen used to speak patois. Is she teach yah?”
Pearl to Diamond
This joint production between the RSC and the Kiln Theatre is set in Port of Spain, Trinidad in 1956 on the eve of the end of colonisation. The play centres on the ALMA Gentlemen’s Club owned by aging colonist Mansion (Roger Ringrose) but run by Pearl (Ellen Thomas) and her daughter Ruby (Cat White). I found myself captivated by this family saga with its sense of a play by Tennessee Williams on the arrival of the lost son Diamond (Martins Imhangbe).
The play came second in the Verity Bargate Award and is written by actor turned playwright Martina Laird, who was born in Port of Spain. A conversation between Mansion and Pearl explains that Mansion wants to leave Trinidad and go back to Blighty and Pearl hopes that he will give her some of his property. Diamond has been working building roads and has left his wife who may have gone off with another man. Diamond eyes up the club and thinks his mother Pearl owns it.
Diamond’s arrival is not the “Long Lost Family” fairytale as he has plans for making money which may not be above board and he will be a disruptive influence. His mother doesn’t seem pleased to see him and Ruby has ambitions of her own for the ALMA Club using her attractiveness to win over Mansion. An American sailor Tom (Ziggy Heath) has discovered this building close to the docks and wants to use it as a warehouse, for probably not entirely legal purposes. Tom and Diamond will get involved in some shady business.
Sadeysa Greenaway-Bailey’s wonderful set is all shutters and colonial splendour with the most atmospheric lighting from Simon Spencer, we can almost feel the oppressive heat – certainly Mansion can! Martins Imhangbe as Diamond is full of sexual over confidence, actually a quality he shares with his sister Ruby and there are hints of a forbidden sexual attraction between them. There is Caribbean music from Christella Litras.
There is a heart breaking scene towards the end of the play when Diamond remembers having to imagine what it would have been like to be held by his mother and how the other children at school were cared for, with good clothes and had mothers. Pearl explains that it was what people did in the past, to leave their children, and that she didn’t realise how far away he would be, but the damage has been done.
Some of the dialogue is patois and quite difficult to hear and understand the full meaning but the text is for sale and reading it enriches the experience of seeing the play. The result is that this multi-themed play is difficult to encompass entirely on first viewing but for me, it is a fascinating study of believable people; flirtatious Ruby, Pearl getting older with aching feet but with a good business brain and motherless Diamond, out of his depth with people who are real criminals. I really look forward to seeing more of Martina Laird’s writing.
Driftwood
Written by Martina Laird
Directed by Justin Audibert
Starring:
Cat White
Ellen Thomas
Martins Imhangbe
Roger Ringrose
Ziggy Heath
Shane David-Joseph
Director: Justin Audibert
Designer: Sadeysa Greenaway-Bailey
Composer: Christella Litras
Dramaturg: Sebastian Born
Lighting Designer: Simon Spencer
Sound Director: Tony Gayle
Running Time: Two hours 40 minutes including an interval
Booking to 4th July 2026
The Kiln
269 Kilburn High Road
Kilburn
London NW6 7JR
Rail/Tube:
Brondesbury/Kilburn
Website:
kilntheatre.com
Reviewed by Lizzie Loveridge
at the Kiln Theatre
on 9th June 2026