Review of ‘54.60 Africa’: “Spiritual transcontinental play fails to embody a compelling narrative”

London’s Arcola Theatre hosts the premiere of Femi Elufowoju Jr.’s latest theatrical endeavour — bringing a collective narrative that pays homage to Africa’s cultural wealth. Guillermo Nazara shares his views on the show  — to let us know if this guinea piece turns out to be a successful experiment.

“To forget one’s ancestors is to be a brook without a source, a tree without a root.” We all crave a personal identity defined by the legacy of those who came before us — whether what defines that connection is blood, background, or affinity. What others were in the past doesn’t necessarily determine who we are today. Yet, the adventure of learning more about the path that took us where we are is always rousing — or at least, that must have been the case for author-director Femi Elufowoju Jr. with 54.60 Africa, which opened last week at London’s Arcola Theatre.

Envisioned as an anthological series of anecdotes featuring multiple leads, the play invites audiences to embark on a journey across the continent — where British travellers of separate African heritages visit their families’ countries of origin for the first time. An enticing idea holding extraordinary dramatic potential, the play manages to intrigue audiences by teasing them with the intoxicating aroma of the land’s cultural wealth. The problem, however, is that the only serving it provides them with comes in too raw a form.

The play draws inspiration from Elufowoju’s desire to visit all 54 countries in Africa, which he accomplished before his 60th birthday. An inspiring endeavour that could have led to a more gripping recount, the result is far from conveying anything of the sort, most sadly. Though generally entertaining despite a few flat excerpts, most of the show’s appeal resides in the company’s highly energetic renditions — which, combined with some truly galvanizing musical numbers, become the sole of entertainment throughout.

Splitting his experiences into several characters (each one named Africa and differentiated by a number), the dynamism achieved through the protagonist’s polytomy endows the script with an agile rhythm. Nonetheless, its not-so-deft delivery prevents it from building a collective story arc — leading to an incohesive collection of underdeveloped plots, which stand closer to a scrapbook of roughly sketched stories than an assembled narrative.

Consequently, our interest in what’s happening is only intermittent. At some points, there’s enough conflict and even pathos to be compelled by. But at others, the events are so devoid of purpose and evolution that, by the time the scene is over, we can’t feel as if we’ve made any emotional or dramatic progress — thus cementing a mild sense of unpleasantness towards the piece.

We can still praise the cast’s electrifying portrayals — all of which flaunt extraordinary rapport, flair, and ease in their execution. Though all of them prove strong acting skills, it’s the musical renditions that earn the highest praise in all their performances. Sung with impeccable prowess, their harmonically rich vocal arrangements and use of live percussion create moments of true magic — encapsulating the soulfulness and aboriginal pizzazz the piece’s message is all about.

Setting the route for an impactful theatrical jaunt but often deviating while encountering a few dead ends, 54.60 Africa shows the best intentions at honouring the continent’s folklore and historical memory. Yet, its unresolved story arcs and lack of three-dimensional characters compromise the script’s chances of resonating with the audience. As a starting point, the concept presents us with an oasis of opportunities. The final drafting, however, comes off a little deserted.

All pictures credit to Alex Brenner.

54.60 Africa plays at London’s Arcola Theatre until 12 July. Tickets are available on the following link.

By Guillermo Nazara