REVIEW: Ilarun— haunting reclamation of Queen Nanny’s legacy
Ilarun: The Cutting Comb by Amarantha Robinson is a stirring new production inspired by the life of Jamaica’s Nanny of Maroons honouring the fierce spirit of resistance.
Performed by: Amarantha Robinson, Alpha Kargbo, David John Watton, William Hall, Rufaro Zimbudzi
Directed by: Effie Nkrumah
Presented by: Amarantha in association with Quiet Riot
Supported by: City of Melbourne Annual Arts Grants and Creative Australia
Reviewed by: Kalida Edwards
Photography by Dre Chez
How do you capture the spirit of a figure as monumental as Queen Nanny of the Maroons? Ilarun makes a daring attempt, and while no single work could fully encapsulate her essence, this production offers a haunting and powerful entry point into her lore.
Written and produced by Amarantha Robinson, Ilarun is an original story inspired by the life of Nanny, the legendary leader of the Maroons - freed Africans who established their own communities and resisted colonial forces in Jamaica. The play sheds light on the uncertain origins of the enslaved Africans brought to Jamaica during early British colonisation. Torn from diverse African homelands, they were stripped not only of freedom but of identity, culture, and connection. Ilarun is a reclamation of this lost heritage - a cry against the forces of erasure.
Set against the backdrop of a West Indies plantation, the play immerses the audience in the brutal world of slavery. Masa, grotesque and incompetent, is played by David John Watton. He represents the depraved entitlement of colonial power - a man driven by base appetites whose twisted obsession with enslaved women blurs the lines between love and brutality, ultimately sealing his demise. His assistant, portrayed by William Hall, is the calculating mastermind - a cold, methodical figure. Together, they create an atmosphere of tension, where impulsive cruelty collides with systematic exploitation.
The cellar where much of the action unfolds is a haunting space, reflecting the dark and claustrophobic existence imposed on enslaved Africans. Black women were exploited for economic gain and carnal pleasure, while Black men, like Jabari (Alpha Kargbo), were emasculated, powerless to shield the Queens they yearn to protect. Masa’s fixation with his “succulent carnal delight” becomes a chilling metaphor for the physical and spiritual consumption of Black women under colonial rule. Juicy (Amarantha Robinson) rises as the spark of resistance. Her cosmic awakening transforms her into a warrior spirit. Robinson’s performance is magnetic, and her inner revolution is both devastating and triumphant.
Ilarun confronts slavery’s enduring legacy within Black communities today. One of its most profound reflections is the betrayal Black women have felt when Black men, disempowered by systemic oppression, are unable to protect or support them. The enforced abandonment of African spirituality in favour of colonial Christianity is another unflinching critique, highlighting how cultural erasure persists. The line “pit you against me, put the foot on our necks” reverberates through the play, encapsulating how division was weaponised to maintain control - a manipulation that demands reckoning even now.
Ilarun is a labour of love, rage, and remembrance. It doesn’t shy away from the horrors of the past but instead channels them into a bold, poetic call for resistance and reclamation. For those unfamiliar with Queen Nanny of the Maroons, this production is a stirring introduction and an urgent reminder of her enduring legacy.
This review is part of MAV’s initiative to foster culturally responsive theatre criticism, amplifying diverse voices and perspectives in the arts. By inviting writers, storytellers and artists to review the works of fellow creatives through the lens of shared lived, or cultural experiences, we aim to highlight the importance of theatre reviews that challenge dominant narratives and provide deeper, culturally grounded perspectives.
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