He’s supremely confident, yet marginalised proud of the subculture he represents, yet unavoidably tied to his historical roots and obviously intelligent yet dedicated to maintain a specific superficial image. The highlight is Lebo Toko’s solo turn as Miss Roj, an imposing transvestite whose monologue encapsulates everything the show says in a few brief moments. In the second half, some of the songs are responsible for slowing the pace – it’s generally better when the cast is collectively buzzing about, their shenanigans neatly linked by Aubrey Poo’s Junie, who is a sort of narrator-cum-MC and an ensemble member in many of the skits. This is not a struggle play or a comedy, but there are elements of both, plus a great deal of music delivered with passion by talented vocalists.
The satire is initially disconcerting as the audience adjusts to the brazen performance style required by George C Wolfe’s script, but once the effervescent Altovice Lawrence has delivered her speech as the giggling, brain-washed hostess on a slave ship bound for the West Indies and Georgia, it’s possible to recalibrate your involvement.
