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A captivating and cutting story of the women and families torn apart by the effects of Western greed on the Democratic Republic of Congo.Summary
Rating
Excellent
It is fair to say I that took more than just a program home from Director, Oscar Pearce’s captivating production of Possession. As I walked away from the white curtains and sandy floor of Studio One, I carried with me the heart-wrenching stories of four extraordinary women caught in impossible situations, who struggled and fought in the Democratic Republic of Congo (DRC).
Sasha Hails’ heartbreaking story follows Kasambayi Mabele (Sarah Amankwah) in her single-minded attempt to save her daughter Hope Mabele (Diany Samba-Bandza) from living a life like her own. Taking refuge in the UK, Kasambayi commits to raising her daughter in ignorance of her beginnings, for the sake of her safety and a future rich in opportunity. Yet, as Hope grows, so does the challenge of keeping the secrets and keeping her safe. When Hope agrees to go to the DRC with foreign correspondent Alice Young (Dorothea Myer-Bennett) to help care for her child, Kasambayi’s worst nightmare comes true. As the play tumbles along its dramatic course the audience is caught up in Hope’s youthful zest for life as she guides us through the events leading up to and beyond her death.
As Possession twists and turns its characters face up to the fallout of their decisions and the audience is called upon to question the legitimacy of its own decisions. While, at times, it may feel more like the audience is being got at more than got to, it cannot be denied that Sasha Hails has an important point to make and, in this brave debut, she makes it well.
Happily, Possession is a play in which its women shine. Amankwah and Myer-Bennett (multi-rolling as Alice Young and Alice Seeley Harris, the wife of a Victorian era missionary) deliver powerhouse performances as mothers torn between their children and the world; desperate to care for them in the best way they know, yet powerless against the ever-changing tides of life. Two particularly affecting moments that brought tears to my eyes include a monologue about motherhood, delivered beautifully by Myer-Bennett, and a truly tragic second act scene shared between Amankwah and Myer-Bennett over Hope’s lifeless body. Samba-Bandza’s devastatingly joyous portrayal of Hope makes the scene even more painful, leaving us physically aching for what might have been.
Playing across from Myer-Bennett, Milo Twomey also deftly delivers strong performances as John Dent and John Harris, while Nedum Okonyia rounds out the cast, capably delivering impactful performances as Hope’s lovers David and George, and as tragically bereft Congolese father Nsala.
The production’s technical elements, designed by Sarah Beaton, Joseph Ed Thomas, Leo Flint, Alexandra Kharibian, and Esther Kehinde Ajayi, contribute thoughtfully to the performance’s powerful impact. While the set feels like it jars with some scenes, and the fabric babies are slightly unsettling, the production’s visuals are undeniably creative and strong. A fascinating visual highlight is Flint’s video projections. Finding their striking home on white sheets hanging from the theatre’s fly, historic images that coincide with the play’s darkest moments intermingle with images of the actors in character, portraying the play’s present. These photographs reveal the horrifying truth behind Possession’s taxing storyline, and are sure to stay with you long after the actors’ final bows.
The only thing to recommend to potential audience members, other than “see the play” is not to wear white shoes if sitting on the stage-level front row. While the dusty red stage floor is fantastically atmospheric, the shoes may never be the same again. Still, my poor shoe choice aside, Sasha Hails’ Possession is undoubtedly a story worth seeing, and the Arcola Theatre a truly wonderful place in which to do so.
Written by: Sasha Hails
Directed by: Oscar Pearce
Design by: Sarah Beaton
Lighting Design by: Joseph Ed Thomas
Video Design by: Leo Flint
Sound Design by: Esther Kehinde Ajayi
Movement Direction by: Tian Brown-Sampson
Possession plays at Arcola Theatre until 15 July. Further information and bookings can be found here.
