The new play by Roy Williams, winner of the Evening Standard's Most Promising Playwright Award, 2001
A boy is found dead. D.C. Joe Stephens must return to his old neighbourhood to investigate. Shanice was the last person to see him, and studiously avoids his enquiries into her boyfriend Emile's gang of friends. Meanwhile Shanice's best friend Ronnie saw something that she swears she will never tell. But when a ?30K reward is offered and Ibiza beckons, the girls and boys face the biggest test of street loyalty in their young lives. FALLOUT provides a terrifying insight into a council estate faced with a gang murder of a kind all too familiar in our inner cities. Praise for Roy Williams' work: "Williams' writing snaps and crackles, his characters burst with life, emotion and contradiction" - Guardian; "Roy Williams shows himself to be a sassy, sophisticated diviner of the human heart" - Evening Standard
Born and brought up in Notting Hill, London, Roy Samuel Williams became a full time writer in his 20s after he took a theatre-writing degree at Rose Bruford College. His first full-length play was The No Boys Cricket Club, which premiered in 1996 at Theatre Royal Stratford East, since when he has had plays produced at the Royal Court, The Bush Theatre, The Hampstead Theatre and the National Theatre.
Williams has done work in television, including adapting his own play Fallout and also co-wrote the script for the 2014 British film Fast Girls. He has also written a police procedural series for BBC Radio The Interrogation.
In 2011, Williams received the best play award for Sucker Punch at the Writers Guild Awards. In 2020, he received an RTS nomination for Best Writer for Drama and BAFTA nomination for best short form Drama, both for Soon Gone, A Windrush Chronicle. In 2018 Williams was appointed a Fellow of the Royal Society of Literature.
The terse dialogue crackles on the page, and it's exciting to see a cast this sprawling take on the horrific ripple effects of a crime. Still, it's a bit creaky now in what was surely a more transgressive portrayal of internalized self-loathing and racism at the time.