Review: The Last Black Messiah, Etcetera Theatre

Throughout our formative early years, we will meet teachers and mentors who can influence our interests and personal values. The best of these will also become friends to their inspired protégés, with eager catch ups held in later years. The Last Black Messiah, written by and starring Emeka Agada, presents such a catch up, with one key difference to usual: the mentor is in prison.

In early 90’s America, the charismatic Dr Oko (Agada) was an outspoken black revolutionary leader and university lecturer who inspired many within the black community to action. This occasionally led to violence, including the incident which resulted in his imprisonment on death row. Oko is delighted to receive a visit from a former student Asante (Kenneth Butler), now a journalist, ostensibly visiting to interview Oko in his final days. Although Oko seems to have put his past behind him, modestly downplaying his role as a leader, Asante seems determined to reignite his passions with debates on their ideologies of what actions can be justified in the name of civil rights. Their discussions go beyond philosophical debate, as both subtly probe the other to uncover the depth of their beliefs. But who is manipulating who?

As writer, Agada has crafted an absorbing and charged political drama. Each character recognises that the other clearly has an ulterior motive for bringing up the suggestion that actions are needed over words, asking whether the ends justify the means. There is much manoeuvring in their debates as they (and the audience) attempt to uncover these motivations. There is an enjoyable verbal sparring match as both attempt to outplay and sway the other to their viewpoint.

The character interaction is compelling, with a natural progression of the engagement between estranged friends who have not met for many years and slowly warm to each other. Director Nathaniel Brimmer-Beller modulates the energy of the performances to reflect this, as Agada and Butler adapt their mannerisms to convey the rekindling chemistry. The two are initially formal and a little wary of each other, with Agada slowly pacing and speaking calmly, whilst Butler sits rigidly. Once they reestablish the old rapport of their younger days in the classrooms, they delightfully become more energised, speaking passionately with rapid-fire banter, and playfully throwing a notebook between each other as they raise counter arguments.

As befits a prison visiting room, the setting is realistically minimal; two uncomfortable looking chairs, a battered table and an old camcorder on a tripod, which is cunningly obstructed during moments the pair require privacy. The costuming subtly evokes a link between the men, as both wear cream and white, albeit Oko’s crumpled prison issue outfit contrasting his situation to Asante’s fitted trousers and shirt. A tipping point is when Oko is presented with his former revolutionary garb of black jacket and beret, which triggers a series of flashbacks to his days of impassionedly rallying the crowds. The flashbacks are effectively distinguished from the present not only by costume changes. They are brought to vivid life by Brimmer-Beller’s atmospheric sound design as we hear the roar of the impassioned crowd during rallies. Imran Islam’s lighting design also conveys the mood of the characters, as the stage is bathed in red when passions are high, or blue as the calming influence of family life is felt.

This is a compelling political and character drama, with different twists unfolding. Although set in 90’s America, the discussions on community strength, and the struggles to achieve a meaningful sense of justice and empowerment, are still relevant to hear across the world today.

Directed by: Nathaniel Brimmer-Beller
Written by: Emeka Agada
Lighting design by: Imran Islam
Sound design by: Nathaniel Brimmer-Beller
Presented by: Blackpen Productions and Black Bat Productions

The Last Black Messiah plays at Etcetera Theatre until Friday 29 August.