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Posts Tagged ‘Oliver Fenwick’

The Kiln Theatre have revived their production of this play after only five years, giving me an opportunity to catch what I missed last time. A four character play entirely set in a ‘prison’ cell may not seem to have that much dramatic potential, but it turns out to be a very clever and gripping political thriller.

American banker Nick has been kidnapped by a terrorist group in Pakistan, not a premiere league one like the Taliban, but one that gets the wrong man; their target was his boss. Realising he doesn’t have the value they have placed on him, he does a deal whereby he makes them money by doing what he does best, trading futures and shorting. One of his captors Bashir, an idealistic British Pakistani, becomes his right-hand man in pursuit of money. The Imam in charge welcomes the money they make ‘for the people’. In the end, though, greed proves not to be the exclusive province of bankers and the terrorist group becomes fatally divided.

It’s a clever and plausible premise, and it unravels in a series of short and sharp scenes which increasingly grab you and add up to a riveting ride. Lizzie Clachan’s designs, Oliver Fenwick’s lighting and Alexander Caplen’s sound combine to create the tension in Indhu Rubasingham’s excellent production. Scott Karim (the only one who wasn’t in the premiere production here) is brilliantly terrifying as Bashir, later absorbing knowledge to take action in support of his values. Daniel Lapaine is excellent as the incarcerated American, on stage virtually the whole time, indulging his passion for making money whilst attempting to save his life. Tony Jaywardena conveys gentle authority as imam Saleem, with a more steely character just below the surface. I really liked Sid Sagar’s performance as the much put upon Dar, a punchbag for both Bashir and Imam Seleem.

I wasn’t keen on Ayad Akhtar’s only other UK produced play, Disgraced at the Bush in 2013, which I thought was contrived, but this is is great drama, revealing the similarities between the seemingly disparate worlds of high finance, politics and terrorism.

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This highly original play by American Antoinette Nwandu packs one hell of a punch and gets a thrilling production by Indhu Rubasingham, with a trio of fine performances.

Moses and Kitch live on the streets of an American city. They are bound together by games and rituals that keep them occupied, and sane. They often reference slavery and sometimes god. They have a private language, more personal than street talk, constantly referring to each other using the ‘n’ word. It’s sometimes impenetrable and often uncomfortable, but adds a visceral quality. They live in fear of the police.

They first encounter a naive young man on the way to see his mom, with a picnic, who seems to have lost his way. Though initially reluctant, they take up his offer to eat and drink, suspicious but grateful. Moses is more cautious than Kitch in what is a rather surreal scene. Soon after he has left, a cop pays a call for some routine intimidation; they are immediately on edge as they know full well how this could play out. They descend into more existential thoughts before a second visit from the cop, and another from the young man.

At times it appears to be repeating itself and there is an other-wordiness about the scene with the young man, but I think the comparisons with Waiting for Godot are a bit overdone. It’s very effective in addressing ‘black lives matter’ and drawing parallels with slavery, without being heavy-handed or preachy. Designer Robert Jones has brilliantly transformed the Kiln into an in-the-round space, with just a sidewalk, lamp and some signs, superbly lit by Oliver Fenwick. The production has extraordinary energy and edginess.

Paapa Essiedu has wowed me three times before, not least his Hamlet, and here he extends his range again as Moses. Gershwyn Eustache Jnr has also impressed me in the past and again he excels here as Kitch. These are stunning individual performances, but they are superb sparring with one another, verbally and physically, too. There’s great support from Alexander Eliot in two very different roles, the doubling up making a point in itself.

Don’t miss!

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