‘Spellbinding, mesmerising, uncomfortable, disturbing, funny, exceptional, staggering, challenging’
Once again, I found myself at the Courtyard Theatre at Leeds Playhouse—one of my all-time favourite venues, renowned for its bold, contemporary theatre.
Tonight, I witnessed what might be one of the most thought-provoking, shocking and socially on-point productions I’ve ever attended. Honestly, I’m still processing it. As I sit here in a kind of stunned reflection, thoughts spinning, I’ll try to articulate my initial impressions.
Spanning 500 years, Tambo & Bones – by American writer and poet Dave Harris – is a genre-defying piece that follows a fictional Black comedy duo through three distinct eras: from 19th-century minstrelsy to modern-day hip-hop stardom and into a speculative future as revolutionary lecturers. It’s an ambitious journey through time, culture, identity and power.
The first third felt like stepping into an absurdist vaudeville or Beckett’s Waiting for Godot, with a heavy dose of commedia dell’arte. There was frequent breaking of the fourth wall*, with Tambo and Bones welcoming the audience into a ‘performance within a performance’. Though occasionally slow, particularly with the deliberate use of awkward silences, this segment cleverly blended crude humour with sharp cultural commentary.
Bones is obsessed with wealth and success, while Tambo initially just wants to sleep—until he wakes to a newfound hunger for radical change. This tension propels us into the next phase of the show. After 25 minutes, I was ready for a change in style and sense of purpose, although it had ultimately laid a fascinating foundation for what was to come.
The second section burst into life with a complete tonal and visual shift. Now global hip-hop superstars, Tambo and Bones take the stage like they’re headlining a sold- out arena show—complete with a masked, miming DJ who added a surprising comedic layer.
The stakes are higher: Bones remains fixated on accumulating more wealth, while Tambo envisions a bigger legacy, aiming to convert his success into social revolution. Their actions inadvertently trigger a civil war across America. One of the standout moments of the production was a short film montage chronicling the lead-up to this uprising—visually inventive, hauntingly plausible and deeply impactful.
After a short interval, the final third launches us 400 years into the future. I won’t give too much away, but the tone and genre shift again, this time into speculative, academic theatre. Tambo and Bones are now lecturers reflecting on the past, guiding the audience through a surreal and sobering history lesson of the Civil War. They are joined by two humanoid robots, brought spellbindingly to life by Jaron Lammens and Dru Cripps, whose physical performances were nothing short of mesmerizing—robotic, yes, but often unexpectedly funny. Without spoiling the ending, I’ll just say it was the most disturbing and uncomfortable conclusion I’ve ever witnessed on stage. This is theatre designed to unsettle, provoke and linger in your thoughts long after the curtain falls.
The cast was exceptional throughout. Clifford Samuel (Tambo) and Daniel Ward (Bones) delivered powerhouse performances, with clearly defined characters whose contrasting philosophies created electric tension. The sheer physical and emotional range demanded of them across the play’s three segments was staggering, their energy never wavering.
The set design was intentionally sparse, with visible wings and minimal scene changes—reinforcing the idea of theatre as a tool for change and keeping our focus firmly on the message. It was a clever, self-aware choice that underlined the play’s meta-theatrical nature.
This production may not be for everyone. It’s bold, brash and unflinchingly confrontational. At times, I struggled to grasp every reference or nuance, and some moments felt elusive—I don’t consider that a fault of the play but more of my own ignorance. If anything, it speaks to the layered complexity of the piece. This is not theatre that spoon-feeds its audience or offers tidy resolutions. It’s challenging, cerebral and demands engagement.
Tambo & Bones is not for the faint-hearted. The 14+ age guidance is well-earned. It’s the first production in a long time that at times made me genuinely uncomfortable. Too often, theatre aims to please, offering instant gratification. This show aims to disturb and inspire lasting conversations. Isn’t that the very essence of why the Ancient Greeks invented theatre?
If you’re ready to be challenged—emotionally, intellectually, politically—get yourself to Leeds Playhouse this coming week.
*The Fourth Wall: The fourth wall is an imaginary barrier between the performers on stage and the audience, creating a sense of separation.
Breaking the Wall: When a character addresses the audience, acknowledges their presence, or comments on the fictional nature of the story, they are “breaking the fourth wall”.
Directed by Matthew Xia, with lighting design by Ciaran Cunningham, video design by Gino Ricardo Green and set and costume design by Sadeysa Greenaway-Bailey and ULTZ.
The cast is: Clifford Samuel (Tambo), Daniel Ward (Bones), Jaron Lammens (X-Bot1), Dru Cripps (X-Bot 2)
An Actors Touring Company, Stratford East and Royal & Derngate co-production in association with Leeds Playhouse, Belgrade Theatre and Liverpool Everyman.
Tambo & Bones
Courtyard Theatre, Leeds Playhouse
until 24 May 2025
14+
(contains sounds of gunfire, violence, ethnic violence, strong language, strong racial language and discusses themes some may find upsetting relating to race)
Access Performances
British Sign Language (BSL) interpreted: Sat 24 May, 2.30pm
Captioned: Wed 21 May, 7.45pm
Access productions at Leeds Playhouse are sponsored by Principal and Access Partner Irwin Mitchell
Box office 0113 213 7700.
Book online leedsplayhouse.org.uk
Photography by Jane Hobson.
