Rape as strategy

The numbers are staggering. This is not simply a feminist issue - if the facts were more widely known it would not only help the victims of rape (and tribal, Hutu v. Tutsi, violence, and the rush for the DRC's minerals), but also help us gain some perspective on the world's other conflict hotspot. The Middle East has nothing of comparable depravity.
The extraordinary thing is that Ms Nottage has been able to make a play of this (now at the Almeida until 5 June, www.almeida.co.uk), and an enjoyable one, too. This owes something to Robert Jones's clever revolving set, which gives us both the outside and interior of Mama Nadi's bar-brothel near a mining village in a part of the DRC. But also Nottage has created full, rounded characters, played with total conviction by a cast brimming with talent. At least three of the superb actors in this all-but-one-black company have just graduated from drama school. The playwright and director Indhu Rubasingham have managed to stage a play that leaves you feeling that hope is not dead and pleasure is still possible, no mean feat when more than one of the characters indicates the meaning of the title. Joyfully dealing with the genuinely horrible, Jenny Jules as Mama Nadi shows star quality - and so do several others: Pippa Bennett-Warner as Sophie, the educated "ruined" girl, Michelle Asante as the married woman Salima and Kehinde Fadipe as the apparent good-time girl, Josephine. The boys are terrific, too, though some look almost too fetching in their camouflage uniforms and combat boots.
Some of my theatre critic colleagues have complained that the upbeat ending rings false, and others have even felt that it betrays the misery and wickedness depicted in the rest of the drama. I'm not sure. I felt at the time that the wit and flashes of good humour of Nottage's dialogue showed that Mama Nadi has a soft centre missing in her obvious predecessor, Mother Courage, that makes her a bit more like the hard-bitten professional women in 1930s Hollywood Screwball comedies. It's true that the final scene is not as strong as what went before; but it's an exhilarating evening for all that.
AJ Ads
AJ Blogs
AJBlogCentral | rssculture
Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
Chloe Veltman on how culture will save the world
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
innovations and impediments in not-for-profit arts
Jan Herman - arts, media & culture with 'tude
dance
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
jazz
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
media
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
classical music
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Joe Horowitz on music
publishing
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
theatre
Wendy Rosenfield: covering drama, onstage and off
visual
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary

Leave a comment