Tag Archives: Luyanda Unati Lewis-Nyawo

“Keep Watching” at the New Diorama Theatre

A company that’s well worth following, Engineer Theatre Collective’s new show is notable for its stylish looks and clever invention. The chosen subject matter is rich – our increasingly surveyed lives – and there’s no lack of ideas about depicting the contemporary condition. The cameras that surround us, the devices that are with us, and a sense of exhaustion are all impressively incorporated into the action. But the story itself is poor. And if you like your theatre with a strong narrative, this becomes a weakness on the part of a strong team. 

What little plot the play has is far too predictable. Arguments for or against technology – based on a balance between invading privacy and providing safety – are thin. The show ends up as a vague jeremiad on modern life in terms of a fear of being “swallowed up”, powerfully conveyed but with little outcome. There are far too many ideas set in motion and left unresolved. Engineer is a collective, remember? Maybe writer and dramaturg Jesse Fox has not been listened to quite enough? Simon Lyshon’s direction is tight from scene to scene, but there’s a lack of detail in favour of a general atmosphere.

Nonetheless, the execution is excellent. There are three strong performers. The action focuses on Luyanda Unati Lewis-Nyawo, who plays a surveillance operative who inveigles herself into the life of Kat, an emotionally fragile nurse played by Beatrice Scirocchi. Wonders are worked with underdeveloped roles by both actors. Meanwhile, George Evans holds his own as a brother in trouble, who also makes a great deal out of little. And this is a real ensemble piece as the performers take over the scene changes and leap into extra roles. More highlights come with excellent sound and lighting design, from Dom Kennedy and Bethany Gupwell, respectively. It’s exciting to see so much creativity, and that much of it is so simple and low-tech impresses all the more. It’s the company rather than this piece that deserves continued observation.

Until 4 May 2019

www.newdiorama.com

Until 4 May 2019

“The Convert” at the Young Vic

Trying to tackle colonialism and religion, along with sexism and education, could easily overwhelm a play. But this assured work from Danai Gurira, directed with inspired steps by Ola Ince, takes all these big topics in its elegant stride.

The key to success might come from specificity: the play focuses on the distinctly Catholic experience of a single woman, Jekesai, alongside the history of one uprising in the Zimbabwe of 1896. The characters are all local and their culture is explored in detail, with complex results that are rich and satisfying. It’s an in-depth look, from many angles, complemented perfectly by the decision to stage the show in the round.

Letitia Wright makes Jekesai’s conversion believable – and that she sees the opportunity for power and representation through religion is an exciting spin, as Christianity literally saves her from a marriage of convenience. Quickly becoming the protégé of Mr Clifford, who aspires to be a priest, this is a central relationship that’s as moving as it is layered. Clifford is given a superb realisation by Paapa Essiedu. Full of repression and conviction, for all his weaknesses he’s a hero of sorts. With the pair seen as collaborators of the colonists, and therefore targets, the theme of religious persecution is given a forceful twist. Two strong female characters accentuate the complexities of locating dissent. Pamela Nomvete plays a servant who pays only lip service to her master’s religion, while Luyanda Unati Lewis-Nyawo is the blue-stocking Miss Prudence ready to provide a feminist perspective.

The one exception to a generally old-fashioned feel is to include a lot of a local language, which highlights linguicism with great dramatic skill. Gurira bolsters the point, again skilfully, with the Queen’s English that the play’s westernised characters speak. There’s humour in mistakes in syntax and endearing precision, but the connection between power and language is clear and thought-provoking. The struggle with speaking is one of many carefully developed investigations of imperialism. But views never feel forced on characters (true a “signifier” slips in once) and a believably late Victorian feel indicates thorough research alongside theoretical thinking.

Among all the issues, Gurira hasn’t forgotten the basics, and The Convert is a well-crafted, traditional piece. There’s a set of strong characters that the performers get their teeth into and a powerful plot that builds tension marvellously. In short, it’s a gripping story about people you really care for.

Until 26 January 2019

www.youngvic.org

Photo by Marc Breener