The Convert: A Story of Colonialism
Danai Gurira’s The Convert, now playing at the Central Square Theatre in Cambridge, MA, gives the audience a picture of late 19th century Zimbabwe when it was undergoing British colonization. The British usurpation of the country’s natural resources and the displacement of peoples led to civil war between the Shona and the Ndebele. Cultural changes took place, religious conversion not the least of these.
Although there are several plotlines, the most dominant is the story of Jekesai (Adobuere Ebiama), a young Shona woman whose uncle (Paul S. Benford Bruce) wants to marry her off to an elderly man with a great many wives. The bride price is of great concern to the uncle. Misogyny within the native culture is an underlying theme of the play as is classism.
Jekesai runs off, and is rescued by her Aunt Mai Tamba (Liana Asim), the trickster maid of Chilford, a would-be Catholic priest (Maurice Emmanuel Parent). To keep her job Mai Tamba pretends she is a believing Christian while hiding amulets in the house to appease her dead ancestors. Following her aunt’s advice, Jekesai asks Chilford to convert her. Chilford, a lay religious teacher, thrilled to find a willing convert who claims she wants to dedicate her life to Catholicism, takes her in to his home, after changing her name to Ester. He tutors the gifted Ester in English, reading, writing, and religion. Although he too is Shona, he acquired English as a child when he was taught by missionaries. Ester, enamored of her new religion, devotes time to converting other Shona people. Like her aunt, she is also a servant, and addresses the pompous Chilford as Master. She is now modestly attired like an English woman with a long dress and shoes rather than her Shona self where her breasts were almost uncovered and her feet bare.
Act Two introduces other issues and characters such as Prudence (Nehassaiu DeGannes), a highly educated young Shona woman who speaks perfect English, but cannot move ahead because the colonialist society has no place for her. Chancellor (Equiano Mosieri), Prudence’s fiancé, another educated African, attempts to rape Ester. A theft and a murder follow. By this time, too many issues have entered the story creating confusion.
In Act Three, Ester, torn between her background and her new religion reverts to being Jekesai, after being absolved of her sins by Chilford, who, although he is unaware of it, will never be allowed to become the priest he longs to be. Ester, despite her desire to work for the good of others, becomes a victim of colonialism. Though there are no white characters in the play, their presence is always felt.
The material based on a history that few Americans know is thought provoking, even if at times the play turns too talky. Many of the characters lapse into Shona for long periods. While this adds authenticity, it can be an irritant to listen to conversations in an unknown language. (Supertitles might have dealt with the problem.) Similarly, the actors’ East African accents are often difficult to comprehend.
The seven talented actors in the production create a strong ensemble. To name a few: Adobuere Ebiama digs out all the complexity of Jekesai/Ester, no easy task. Maurice Emmanuel Parent’s Chilford is properly naïve, arrogant, yet decent. Liana Asim not only finds Mai Tamba’s comic characteristics, but represents Zimbabwe’s religious beliefs. Nehassaiu DeGannes plays Prudence as a sophisticated woman beyond her era.
Megan Sandberg-Zakian directed the play with intelligence and sensitivity. Jenna McFarland Lord’s set of Chilford’s house with its desk, couch, and rugs reveals a lot about the character’s ambitions.
Underground Railway Theatre at the Central Square Theatre presents The Convert By Danai Gurira
Director Megan Sandberg-Zakian
Scenic Design Jenna McFarland-Lord
Costume Design Miranda Kau Giurleo
Lighting Design Devorah Kegmana
Sound Designer Nathan Leigh
Plays through February 28, 2016