The play, Said Ahmed Mohamed's "Amezidi," is a commentary on the Western world's impact on postcolonial Africa. Following the traditional African storytelling mold, the two brothers actively engage with the audience, playing at once the characters and the actors commenting on the characters. The plot largely consists of Ame and Zidi playing make-believe to cope with the drought and famine that has hit their village in Kenya, killing everyone and everything around them.
What is perhaps most exciting about this production is its origin. Chris Simpson '09, a comparative literature major, not only directed the play, but also translated it from Swahili. In fact, this is the first known English translation and production of the play in the United States. Simpson spent fall 2007 studying in Kenya, where he also directed a production of "Amezidi" in Swahili.
The audience can't tell what was lost in translation, but the first two-thirds of the English-language play lack a dynamic storyline. We watch as Ame and Zidi get lost in their imaginary play worlds day after day. The routine effectively evokes the monotony of their lives, but it also makes for a slow and sometimes dull plotline. The play only picks up when the brothers start to crack, and the horrible effects of starvation begin to take their toll. Once we are shown the reality of the world around them, their fantasy world suddenly seems poignant.
The production's setup is effective; in particular, the staging and acting attempt to break the fourth wall to create a direct connection with the audience. It is set in the round, catering to the play's storytelling style. The stage is lit in a warm golden brown, and leaves are scattered across the stage, evoking Africa in a minimalist sense. The only set pieces are two straw beds. The audience immediately feels like a part of this world, and indeed it is. Ame and Zidi assign roles to the audience members, each a part of their idealized, imaginary world. For example, Ame looks one audience member in the eye and declares, "And this is our portrait."
Shawn Fennell '10 (Ame) and Stephen Strenio '09 (Zidi), who is also a cartoonist for The Daily Princetonian, give strong performances. Both are likable and have a strong rapport with one another, giving the impression that they have a lot of fun playing make-believe together and also care deeply for each other. Fennell, in particular, has a wonderful presence and brings a striking honesty to his portrayal of Ame. He is also particularly winsome when he plays the hilarious character Mari, a flamboyant, dramatic woman Zidi is fond of. Both actors, however, create characters very similar to themselves. Their low-key performances, combined with their blatant acknowledgment both of the audience and the medium in which they are playing, sometimes makes it hard to believe that they are two starving Africans.
This play addresses the issues of poverty and starvation differently than one might expect. The Western world is neither condemned nor revered. Indeed, "Amezidi" shows us that the situation is not black and white. At the end of the play, we are left not knowing the solution, but sure that the status quo needs to be changed.
In sum, while the first section of the play is slow, and the severity of the characters' reality should be better established, the end of the play makes "Amezidi" worth seeing. If nothing else, it serves as an effective reminder that we shouldn't turn a blind eye to the obstacles Kenya still faces today.
"Amezidi"
by Said Ahmed Mohamed
10/16-10/18/08 at 8 p.m.
Matthews Acting Studio, 185 Nassau St.
Student Events Eligible
3 out of 5 paws
Pros:
Strong acting
Compelling material
Cons:
Play moves slowly, skirting around the heart of the material
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