A new play by Stefanie Reynolds, Danesha is a modern coming-of-age story- rooted in the exploration of black culture, queerness and self-discovery.

Set in the post-industrial city of Preston, teenage Danesha (Talia Rae Smith) sets her sights on becoming a dancer. A product of the Tik Tok generation, uploading dance videos is her creative output as her Dad plays along with teatime quizzes whilst surviving off of ready meals. Danesha’s horizons are instantly broadened when she meets the effervescent Leonie (Kelsie Gordon-Harrison) on a whim at a nightclub in Manchester, and so their stories unfold.

It’s always refreshing to experience fresh writing; writing which feels relevant to today; stories which are lived out in real-time- there to educate those willing to listen. With direction from Hannah Tyrrell-Pinder, Danesha is just that- a story from the perspective of a mixed-heritage, queer female in northern England, who is on an introspective journey. But with a mere 75-minute run-time, an authentic, fully realised production was always going to be a tough ask. Such themes as race, sexuality and identity are vast, consuming topics to explore and, whilst the vibes are fun, you never really get the chance to sit and unpick the tribulations Danesha faces. On a surface level, you can appreciate the struggles and the confusion, but this appreciation soon leans towards a longing for a deeper connection. The play tackles some huge issues, but these often become ephemeral and, ultimately, bring the piece to a frustratingly underwhelming conclusion.

Co-Designed by Sascha Gilmour and Marina Diamantidi, the studio space is segmented into two parts: a living and a raised stage area. The former is well-utilised and works effectively with Lighting Design by Charly Dunford. The stage area, however, is a confused platform which never really finds its place amongst the rest of the set. Often underused, it seems to principally be used to centre the effectual projection screen from which we are given insight into Danesha’s numerous video-calls and messages.

The music throughout offers a glimpse into what a front row seat to the party could be but, sadly, Sophia Harari’s Sound Design lacks the oomph needed to really take us there. Awkwardly, the sound levels are too low to truly engulf the audience in a club-like atmosphere, ultimately leading to a lack of immersion.

A generally strong cast holds the piece together. Gordon-Harrison is glorious in role as Leonie. Effortlessly, her characterisation is relatable and honest. This well-rounded portrayal makes up for much of what the book lacks and injects a much-needed sense of authenticity into what is a very real story to tell. Janelle Thompson’s Lianne brings warmth and vibrancy with a cutting, convincing final act which is worth the ticket price alone.

Whilst this fleeting outing may not reach the mark it sets out so boldly to achieve, it’s laudable to see writing which aims to give platform to those whose voices need to be heard. With plans to tour the piece around schools in the North West- for some, this could well be a life-affirming piece of theatre which stays with them for years to come.

Danesha plays at The Lowry until Saturday 5th October, further details and booking can be found here.

Gifted in exchange for an honest review.

Rehearsal images courtesy of the production.