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Dakar 2000 Premieres at Manhattan Theatre Club
The Manhattan Theatre Club has officially opened the world premiere of Dakar 2000, a play crafted by Pulitzer Prize finalist and two-time Obie Award winner Rajiv Joseph and directed by May Adrales. Performances commenced this evening at New York City Center, showcasing a blend of thrilling narrative and complex character dynamics.
Starring Abubakr Ali, known for his roles in films like Anything’s Possible and TV series including “Law & Order: Organized Crime” and “The Walking Dead: World Beyond,” alongside Mia Barron, an award-winning actress celebrated for her performances in The Coast Starlight and Hurricane Diane, the play features two strong leads.
Set against the backdrop of Senegal on the brink of the millennium, the narrative follows an optimistic Peace Corps volunteer, played by Ali, who finds himself recovering from a cryptic car accident. His recovery is interrupted by the arrival of a formidable State Department agent, portrayed by Barron, who swiftly assumes control over not just his recovery but his safety. Their relationship develops unexpectedly, soon revealing layers of secrets that lead him into a perilous world of political intrigue—a journey from which he may not easily escape. This premiere promises to keep audiences on edge with its unpredictable twists.
The production also boasts a talented design team, including scenic design by Tim Mackabee, costume design by Emily Rebholz, lighting design by Alan C. Edwards, sound design by Bray Poor, projection design by Shawn Duan, hair and make-up design by Tommy Kurzman, and production stage management by Merrick A.B. Williams.
Elisabeth Vincentelli from The New York Times comments that, despite the potential inherent in the play’s context, its execution may falter. She notes that the unfolding drama does not fully exploit its premise and is hindered by elements that may feel self-indulgent, questioning the believability of character interactions amidst shifting power dynamics.
In contrast, Jackson McHenry from Vulture offers insight on how the narrative struggles to gain momentum, with additional character explorations feeling half-formed. He highlights the complex historical setting of the play, which falls just before 9/11, hinting at broader repercussions of the character’s motivations while keeping them confined to an isolated context.
Amelia Merrill from New York Theatre Guide finds the plot’s tension compelling enough to counterbalance any shortcomings in character depth. She points to climactic moments in the script where manipulation and genuine emotion intertwine, further emphasizing the complexity of altruism and self-interest as central themes.
Finally, Melissa Rose Bernardo from New York Stage Review highlights the undeniable chemistry between Ali and Barron, suggesting that their dynamic may leave audiences rooting for their characters’ connection. She also praises Adrales’ direction, particularly a scene that is set to leave a lasting impression, aided by the disturbing lighting that enhances the narrative’s tense atmosphere.
Average Rating: 62.5%
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Source
www.broadwayworld.com