There’s a scene just before the interval of this harrowing, sometimes hilarious always illuminating play about conflict in the Congo which sums us just how complex the situation looks from a liberal western perspective.The pay asks what kind response is appropriate and useful from the West as that observer, Stef played by Fiona Button, returns to London and attempts to engage London’s Congolese community in creating an Arts Festival to raise awareness of the atrocities and challenges of that volatile region.
At an open meeting, sat around the action, we witness their antagonism and hostility to any attempts by white people to comment on or interfere with their affairs. This little London community becomes a microcosm of the problem, riven by disagreement and even threatened by a rather inept but violent terrorist group here in London.
The almost surreal situation is represented theatrically with surtitles which don’t, as you would expect translate the dialogue from non-English to English but which displays a Congolese translation while the actors perform in our language.
Wandering through the action, unseen by the other characters, is a handsome guy in a pink suit with a walking cane who, inexplicably at first, voices any texts or emails which come through via anyone's mobile phone. The purpose of this becomes clear as we learn that a vital component in all our mobiles has been stolen from the Congo by the West. This character takes on an even greater resonance in the second half.
It’s a richly satisfying evening which will educates anyone like me, who has very little awareness of the terrible situation in the region, divided by violence and ideology whilst simultaneously being asset stripped by countries like our own.
This is the second major play by Adam Brace who’s first play STOVEPIPE was much admired and it solidifies his reputation as a brilliant playwright who’s able to convey complex political ideas in an entertaining and engaging way.
He’s reunited with STOVEPIPE’s director Michael Longhurst who himself looks set for a meteoric career. Later this year he directs AMADEUS at the National Theatre, likely to be one of the must see productions of the winter.
Go to be educated, intrigued and entertained.
Big Shot won the “Spirit of the festival” award at the San Diego International Fringe Festival last year. We follow the story of Jeremy Crocker, a successful defense lawyer in New York City. Crocker falls in love with Carrie, an Irish artist who works in Crocker’s usual coffee stop. As they spend more time with each other there is a revelation that Carrie is very closely related to Croker’s new defence case.