The Bush has been reconfigured into a cabaret bar, the likes of which Josephine Baker rose to fame in in the 1920s, but rather than presenting a straight biography of this remarkable woman, Jumbo intertwines another story, that of ‘I’. ‘I’ is Jumbo herself, or at least a version of her, and so parallels are consistently drawn between the experience of arguably the first African-American superstar and that of a young female actress on the cusp of a possibly similar breakthrough today. It’s a nifty device, albeit one that isn’t always necessarily as successful as it could be.