Reviews on ‘Wolves On Road’: “You’re a long way from home, yuppie boy”

London’s Bush Theatre hosts the world premiere of this new play dealing with the dangers of delusional ambition. Guillermo Nazara shares his views on the show, to let us know if its Wall Street narrative is able to issue enough bonds with its audience.

Greed is the scavenger that predates on other people’s dreams. We’ve heard that story thousands of times. Bargain investments of unprecedented potential everyone wanted to be a part of – only to discover that what they were really turning into was victims of a fraud scheme. The tactics are usually the same. And so are their victims: everyday persons who only wished for a better life; unaware that what they were stepping into was, in many senses, the end of it.

As Christmas gets nearer, and Mariah Carey resumes her annual (please read carefully) defrosting, the Holiday Spirit returns to our hearts to remind us of the true meaning of the holiest of seasons: buy, buy and buy! And it seems like the Bush Theatre has made a not-so-subtle statement, and definitely not discreet as for where their position stands, about the over materialistic approach we direct our lives into. Until the end of the next month, the venue hosts the world premiere production of Wolves On Road, a tale of struggle, effort, trust and deception.

Written by Beru Tessema, the play follows the journey of Manny – a young man coming from a low working class background – who, after a few too many disappointments trying to become an influencer and an online seller, happens to find his true calling, as well as the ultimate answer for all his problems: he will become a bitcoin trader. Little time, big gain – the sky is now the limit. And with all his prospects only pointing at success, his family and friends are the next ones to join in this safe gamble…

Investing in a interesting idea, while profiting in its entertainment qualities, the play manages to deliver an engaging recount which, though not too profound, is still able to convey a wise message. The problem, though, stems from the predictability of its plot, as well as the lack of subtlety in its cautionary tale undertone. As soon as the conflict is presented, we can foresee all that’s going to come after – and though it’s true that the characters have a individual journey we can engage with anyhow, the narrative’s value is however decreased by the absence of surprise its main assets brings on.

There’s still some acknowledgment to be given to Tessema’s accomplishments in terms of structure and development, though. His story may not be the most unique, but he certainly proves his dramatic skills through a clear understanding of rhythm and flow throughout the whole account. Every scene serves a purpose, every dialogue moves forward seamlessly and with complete naturalness. And at the same time, he reserves space for emotion and introspection – which, despite bordering the line of the cliche on a few occasions, is nonetheless relatable and compelling.

However, the biggest deal comes in the form of cast and montage. Starting with Amelia Jane Hankin’s cleverly devised design, integrating elements in the auditorium to concoct a virtually simple but flawlessly functional set, both Ali Hunter’s lighting and Gino Ricardo Green’s video designs work at the same level to concoct a strong traffic of imagery that conveniently submerges the audience into the show’s universe, while also providing a cinematic touch all throughout.

As for the company, despite a small degree of pathos and realness still missing at some points, the entire troupe gives a rather enticing, and somehow stirring rendition. Among them, Jamael Westman makes one of the most memorable acts as bitcoin guru Devlin – through a faint yet highly gripping portrayal of his deceitful role. Yet, the highest praise goes to Ery Nzaramba – bringing absolute charm, honesty and sentiment to his portrayal of the good-hearted, hardworking family man Markos – whose purportedly basic appearance is only the result of the enormous complexities fate has dropped on him.

Flaunting a good share of qualities regarding both its dramatic and philosophical intentions, Wolves On Road brings up a solid premise to its credit – which, if imbued with a more thorough exploration of the human condition, and combined with a greater standard of originality, could only help climb its way up to secure a better place in the market. With its possibilities already in place and its dividends ready to hit, it will just take the right creative funding for the full concept to finally pay off. It’s not the kind of show that parts from a million-dollar idea, but I have no doubt there’s still room to have a bit more in stock.

Wolves On The Road plays at London’s Bush Theatre until 21 December. Tickets are available on the following link.

By Guillermo Nazara