Review: 54.60 Africa, Arcola Theatre

Arcola Theatre was founded in 2000 by Mehmet Ergen and Leyla Nazli in a former textile factory in Dalston. They’ve retained much of the industrial architecture, yet created a warm and welcoming space with two studios and a spacious bar, hosting lively music with tables draped in African fabrics. As we enter Studio 1, it’s intriguing to witness this complex, multi-level space, with seating at different levels and signage of African regions and flags.

Femi Elufowoju Jr., a polyglot of the drama community with noteworthy successes in film, theatre, television and radio, is the passionate writer and creative behind 54.60 Africa. He journeyed in 2022, traversing Africa’s then 54 countries before turning 60 years old.

When conceiving of 54.60 Africa, Elufowoju recognised that in order to highlight stories of Africa, he would need to channel his experiences through multiple voices. This lauded team of creatives make exemplary use of the space, utilising numerous entrances and exits, drawing the audience across different levels through dance and song, and highlighting different flags as they criss-cross Africa’s 54.

The 11 strong ensemble (with Elufowoju himself, on book, in place of Patrice Naiambana) take us on this complex journey with spoken word, songs, music, chants, dance and passion. It is a heartfelt tribute to mother Africa and her complex facets: pain, suffering, joy, pride and origin. Suzette Llewellyn is compelling as Mama Africa. She commands her audience, entering from different dimensions of the space. We meet her by her coffin: tired, angry, worn, yet proud of being the origin of humankind. As the stories unfold, Llewellyn sheds layers of dark, worn, heavy clothing, concluding in a radiant headdress and gown, embracing us as the bright African sun; Maybelle Laye’s costuming is apt. The ensemble are clad in unassuming white shirts and black trousers, allowing the story to move easily between their narratives. Our 11 transition smoothly between narrators in black and white to bright coloured suits, head wraps and jackets to embody different characters.

There are so many stand out performances in this woven story of African history, told by Africans, with laughter, sadness, bureaucracy, the legacy of colonialisation and inherited traumas. Special mentions go to Munashe Chirisa (Africa 3) and Christopher Mbaki (Africa 4) for their charming versatility in character, song and embodiment of different characters. Liana Cottrill (African 9) also moves seamlessly between different dance styles and emotions, sparkling with energy and enthusiasm.

The Ganda Boys, acclaimed musicians and singers, move between stories and space, using their voices, African instruments and physical musicality to drive the narrative, support lamentations, protestations, and celebrations.

When the ensemble call to the audience with clapping, we join in enthusiastically. As the journey begins, we participate with the excitement of calls to our history: we dance in our seats, sing along with African tunes and revel in their escapades. As we spill out into the warm evening during the interval, laughter and energy fill the skies. Unusually, the retaking of seats is swift as we meet a thriving marketplace of hawkers (our ensemble), skilfully elevating the energy. The ensemble draw us back into the journey, the fear of border controls, potential for bribes and ultimately attaining the 54. This is a joyful, poignant experience. The ensemble are ‘evangelists of seduction’ and we are both seduced and sated.

Writer and Director: Femi Elufowoju Jr.
Production Designer: ULTZ
Music Director, Composer and Sound Engineer: Emmanuel Edwards
Lighting Designer: Charles Balfour
Associate Director and Movement Director: Kemi Durosinmi
Costume Supervisor: Maybelle Laye

54.60 Africa plays at the Arcola Theatre until Saturday 12 July.