REVIEW

COLONIALISM is undoubtedly one of the most vexed issues of modern times. If you throw God into the mix, things can really be stirred up.

But what many theatre goers will love about Danai Gurira’s dramatical play, set during the 1890s in what is now Zimbabwe, is that in the end it also achieves something transcendental.

First seen in America in 2012, Gurira’s story is about a young black Catholic called Chilford who saves a young woman from an arranged marriage.

The girl is the niece of his maid, who secretly practices the traditional religion of her Shona tribe.

Outside their home, trouble is brewing, with attacks on black collaborators known as “bafu” (meaning “traitor” in Shona). After a fatal scuffle, the girl is forced to choose between her people and her Catholic faith.

The big – and some critics may say ultimate – question posed by Gurira’s compelling and intense play is expressed by the maid: “What is wrong with our ways?”

It’s a subject that goes to the heart of our understanding of cultural identity, economic development and whether one way of life can ever be set above another.

The language is uncompromising, with the missionary reviling his fellow Africans as “savages”. But there is innocence and humour about the writing, too, with English phrases mutating into local forms, echoing the direct effects of colonisation.

Ola Ince’s solemn yet vital and emotional production distils all this, and more, into a spellbinding and riveting two hours and 40 minutes, with two short interludes.

The stage design by Naomi Dawson, with a central concrete arena set with European furniture surrounded by red cracked earth – all under a crucifix provocatively bearing a conspicuously white Jesus – is a clear example of the divisions on show.

It’s a fine play for two reasons. One is that it is potently tragic, hingeing on a hard-won and deeply moving act of forgiveness at the end. The other is that it has terrific stage parts for the actors. Paapa Essiedu is taut with uncertainty throughout as the strict and pious, chaste Chilford.

He is offset by Pamela Nomvete as his insubordinate maid, and Luyanda Unati Lewis-Nyawo as a social climber speaking the Queen’s English.

It’s Letitia Wright, though, who is the play’s dramatic engine, transforming from nervy tribesgirl to a confident young Christian woman. Her role portrays a determination to hold together her past and her present.

This is a serious piece of play writing, which deserves a run in the West End.

Verdict: A potent mix of God and tradition. A missionary’s culture clash in colonial Africa is utterly spellbinding.

★★★★