The fact that The script has been shortlisted by the Association of Nigerian Authors for the prestigious 2013 Esiaba Irobi Prize for Playwriting, is no surprise. Though the first half drags on, with moments of laughter, it is really the second half where the play comes alive as the delicacies of the relationships become more apparent.
It is a heavy topic, and an all too familiar one, for a number of Black Canadian families.
The family secrets deliberately unravel throughout the play, with each revelation bringing us closer to the truth. Dealing with negative influences in your life, and coming face to face with realities of your own persona is not an easy feat. Jude captures this explicitly in this script.
Lorraine Klassen’s portrayal of Nana to me was the scene stealer. I found myself looking forward to her reactions, confessions and that raspy singing. My emotions for her went from sympathy in the first half to total loathing and disdain. I felt like I could have jumped on the stage and pulled that plug myself.
Osasu’s character was a bit over the top at times. It felt like Wale was overacting; not sure if this was the intent of Director Jude Idada? But Bridget, consistently delivered believable moments, unflinching in the depiction of Ifueko’s love and care for her family. Searching for the justification to take the inevitable final action.
Set designer Sean Mulchacy, created a realistic hospital room, replete with naked walls, the obligatory side table and ugly furniture. It’s the type of room you don’t want to stay in for long periods of time.
A standing ovation rounded out the night for this hard-working trio, I encourage people to go see this production if you still can.