Our Eyes Looking for God is a creative production that explores the experiences of Black British individuals through the medium of opera. The piece was created in 2020 by writer, director, and activist TD Moyo, alongside award-winning composer Renell Shaw. It was inspired in part by Moyo’s personal grief following the murder of a family member in south London and the broader racial tensions that arose after the killing of George Floyd in the United States. The story follows two Liverpool cousins, Adjani and Kamal, as Adjani prepares to leave for London, leading to a night filled with memories, celebration, and ultimately, tragedy. The libretto, written by April Koyejo-Audiger, weaves together everyday elements—like fried chicken, a Vauxhall Astra car, and designer aftershave—with poetic and reflective language. Conversations between characters often transition into meditative moments or monologues, blending personal reflection with emotional depth. The musical score moves between the sharp beats of rap, the mellow rhythm of reggae, and lyrical passages that resemble traditional operatic arias. The music is supported by a band led by keyboardist Luke Bacchus, featuring Meera Raja on cello, Shane Forbes on percussion, and Charlie Laffer on electric guitar, creating a dynamic and layered soundscape. The set design, by Amanda Mascarenhas, features imaginative elements such as a twisted streetlamp turned into a metal tree and a car rendered as a simple sketch. These elements create a space for the characters and a trio of dancers and singers from the community arts group Trybe House, who wear bejeweled balaclavas and move with energetic, almost electric intensity. Gamba Cole’s portrayal of Adjani is particularly strong, showing a deep sensitivity to the emotional and musical shifts in the performance. Themba Mvula’s Kamal, however, appears less fluid, with his delivery of more operatic elements feeling forced and somewhat disconnected. While Our Eyes Looking for God captures the grand gestures and emotional extremes often found in opera, it does not fully achieve the form. Instead, it blends theatre and music, using musical depth where it feels appropriate. This approach is not inherently flawed, but the production’s refusal to compromise or take bold risks suggests a commitment that remains unfulfilled. The story has the potential to resonate deeply, but it hesitates at the edge of a bold statement, leaving room for greater impact.