Drum
★★★★
Drum, written by Jacob Roberts-Mensah, is about the relationship between Ghanian photographer James Barnar (played by Roberts-Mensah) and BBC DJ Mike Eghan (played by King Boateng), also from Ghana. The pair met in London in the 1960s when Eghan’s music program, featuring a lot of music from Ghana, was attracting attention and piquing the public’s interest in world music. Barnar was briefed to photograph him for the South African magazine Drum. He visited Eghan in his office at the BBC and the play imagines what happened next.
This delightful piece of theatre is a joyous and lively celebration of Ghanian culture and music. Roberts-Mensah is particularly engaging as Barnar. He oozes charisma and cheekiness, and the dialogue between the two characters sparkles with wit and humour. Boateng also portrays Eghan with strength and intelligence, particularly in the scenes where they talk about Ghanian politics.
The characters spar playfully about Ghanian music and culture, argue about politics and discuss the nature of success and the impact of their lives as immigrants in London. Strong direction is evident by Sarah Amankwah in the dynamic movement and playful choreography of a fantastic scene where the two dance together. Their ebullience and joy are utterly contagious, and they have the audience grinning from ear to ear.
The plot of the play is a little superficial – no huge conflict or pressing issues are presented. Barnar gives Eghan a ribbing about moving to London when he could be serving his country better back home and they also argue about politics.
Festival reviews: Edinburgh Festival Fringe, various venues
When they bring up Ghana’s first president Kwame Nkrumah, it feels as if a deeper political plot may kick in, but they merely debate the intricacies of his presidency, each presenting different, but equally valid views. It is interesting to see Robert-Mensah present Nkrumah’s famous speech on Ghana’s 1957 Independence Day, which ended in the rousing lines, ‘Ghana is free forever!’
Whatever the play lacks in plot, however, it more than makes up for in its joyous showcase of Ghanian culture and sparkling dialogue. This is a joyous and engaging play with lots of humour and playful tension between the two characters. There is much to enjoy in their story, and both actors give strong performances. Best of all this is a lovely portrayal of Ghanian culture and music.
Drum is on at Underbelly Cowgate until 25 August.
Failure Project
★★★★
Failure Project, written and performed by BAFTA nominee Yolanda Mercy, is a very funny and refreshingly honest play about failing, the difficulties of being an artist and covert racism. Yolanda plays Ade Adeyami, who’s had a Fringe hit with her play Day Girl, about her scholarship to an exclusive private school. It’s just been picked up by a professional theatre company – only they want to replace her as the actor with an Instagram influencer with no acting experience because, ‘she’s more relatable’. Ade is upset but tries to keep her big girl britches on and not complain.
She’s also in a ‘situationship’ with sexy, tattooed Marcus, who says he thinks she’s a socialite. When she asks why, he hilariously mumbles, ‘You know … you like w***ing … and pilates and … writing.’
She’s offered an associate playwright position with a professional theatre company, but when she pitches an idea about black female scientists in space, she’s told by the director she’d rather she write a ‘more current’ story she’s heard about a 12-year-old Nigerian who struggles to adjust to life in London because of language difficulties. ‘But Nigerians speak English?’ says Ade.
Things begin to unravel. It turns out the Instagram actor is lousy and the internet erupts in complaint, then Ade is accosted by a woman claiming to be Marcus’ wife and mother to his children. Ade retreats to the comfort of her rambunctious mother and the grave of her best friend Toby for solace.
This warm, funny play with its hilarious cast of characters and rollicking plot is performed well by Mercy, who has a great presence, clear diction and impeccable comic timing. She writes with a wry humour and a lovely openness and transparency, and despite the complexity of the plot with its cast of thousands and all its intricate twists and turns, she keeps the audience engaged throughout. There’s much to like about this play. It’s a thought-provoking examination of covert racism and the pitfalls of the theatre industry, but most importantly it’s a celebration of resilience, family and community.
Failure Project is on at Summerhall in the Anatomy Lecture Theatre until 26 August.
