Africa has been coveted by western culture for centuries, from Julius Caesar to all the European colonial powers, to the USA. Bowed, but never really conquered, Africa has survived because it has a tale to tell, the story of a continent, a land of diverse people and a culture of tradition. The question becomes: How do you best tell that complex story ?
"Since Africa" by Mia McCullough, wisely decides to "take baby steps" in trying to examine and understand the African experience from a western point of view. McCullough's play under the inspired direction of Seema Sueko, takes the many ingredients that make its people so interesting with their different cultures, traditions, music and myths and distills the mixture into a two-hour play; one that an audience can get its head around.
The idea for the play came out of a newspaper article concerning the plight of "the lost orphans of the Sudan", a by-product of the internecine African wars of the last twenty years. So many African nations have been devastated by wars, disease, and genocide it was inevitable that a legacy of thousands of war casualities and thousands of orphaned children would be the result."Since Africa" revolves around a recently widowed socialite (Linda Gehringer) and her daughter (Ashley Clements) who volunteer to help a "Lost Boy of the Sudan" relocate to a major American city (Chicago). The African refugee, Ater Dahl (Warren Miller), tries to leave his past behind and forge a new life in America but finds he is mystified by American ideas of art, ritual, and family. To help in his transition, Reggie Hudson (Willie Carpenter), an African/American Catholic Church Deaon, tries to become the bridge and broker between Ater and his two American women sponsors. As the women get to know the young man and his fellow immigrants, their notions about Africa and their own experience of loss are transformed forever.
As a way of setting the tone of the play to follow, director Seema Sueko introduces at the outset, the intriguing character "The Nameless One" (Kristin D. Carpenter). She doesn't speak a word of dialogue, but is intriniscally important in understanding the play. She is the spirit of Africa who is always present whenever the play's characters are on-stage. It's a wonderful movement and dance performance to watch as she interprets the ever-present drums. It's also a brilliant directorial stroke by Sueko that not only enhances the play with the presence of The Nameless One, but is a clever way to have that character serve as a "silent interpreter" for the audience.The entire cast led by Linda Gehringer as Diane, and Warren Miller as Ater are right on the money. Kristin Carpenter as "the Nameless One" almost steals the show, but not quite. The audience the night I saw the show rose for a well deserved standing ovation for the entire company. If I had any reservations about the play, it would be that a couple of long speeches might be trimmed a bit. As far as technical credits go, Paul Peterson, the sound designer at the Old Globe, brings his usual magic to the proceedings in the Copley. The drums and sound effects are such an integral part of the evening I can't imagine the play succeeding without them.
There is no doubt, whatsoever, that Mia McCullough is a playwright I want to hear more from, and I'll wager she has a lot more to say about a lot of different things, not just Africa. It's a terrific production and one not to be missed. "Since Africa" performs at The Old Globe Theatre complex through March 8th. Tickets are available by calling 619-234-5623, or online at www.theoldglobe.org
