By DeShaun Snead

Unlike many of the other, more well-known theaters in central London, the Lyric Hammersmith Theater in West London has only a modern red sign making it conspicuous. It’s a good thing, too, otherwise it would become lost in the sea of banks and clothing stores that surround it.

The “Benji Reid Double Bill” ran from October 7-25th at the Lyric Hammersmith Theater. At five pounds a ticket (that’s about $8.20) it was reasonable and was a nice way to conclude a full celebration of Black History Month, October in the UK. The double bill included performances co-written and performed by Benji Reid, acclaimed European body-popper, poet and director.

The first section was ultimately a one-man show entitled “The Pugilist.” It proved a surreal mix of scenes from a Black-British boxer’s life and the peripheral, but poignant, gaze of Goffer, the boxer’s geeky trainer, admirer and enthusiastic second. Benji Reid plays both of these characters with expert stage transitions from Barry to Goffer, from the past to the present. One of the most breathtaking aspects of the performance was the expertise with which Reid moved his body; it’s not hard to imagine him winning trophies for body popping. Reid combines his mastery of movement, physical ability, careful study of a boxer’s footwork and visual miming of a losing boxer in the ring. Minimal props and sound-scapes were used to pull the audience into Barry’s loss — his harsh realization that heroes die — and Goffer’s conclusion that “What I do is not necessarily what I am.” Lighting also helped tremendously in evoking a mood that drew interest while provoking thought. Reid’s performance was amazing.

The second part of the Double Bill was “13 Mics.” Reid “stands…center stage and asks, ‘is hip hop dead?’” as the production directs. Steve O. Jay, on bass, a drum set and an MC accompanied him. Through word, music and his mastery of movement, Reid traveled through time, personifying the musical forms of jazz, hip hop and gangster rap. Reid wraped his words around the trajectory of the black musical movement that has led to hip hop.

He spoke about the state of weakened jazz and advised hip hop to beware of the commercialization that devastated jazz. Reid asked and answered the question: what is hip hop as an art form in all its expressions (those being graffiti, dance, word and mixing)?” He confronted the dilemma of commercialization of a grassroots art form that has become “a language spoken by people in every corner of the globe.”

Not only did Reid spark audience participation, but he also inspired a sense of immediacy when he infused dance into his work. This show was a testament to the shared and divergent experiences of people throughout the African diaspora and the far-reaching grip of the word, music and dance. Benji Reid left the audience riveted and inspired with his mastery of character and his brilliant mix of movement and language to convey a very specific experience, yet an experience that transcends geography.

DeShaun Snead is a Review writer currently participating in the Oberlin in London program.