A Man of Good Hope, theatre review: Considerable riches on offer in this vivid musical-opera cross-breed

The Isango Ensemble play to their collective strengths in this adaptation of Jonny Steinberg's novel, writes Fiona Mountford
Powerful: A Man of Good Hope is from Cape Town's Isango Ensemble
Keith Pattison
Fiona Mountford3 November 2016

It’s salutary to be reminded that Europe isn’t the only continent grappling with the complexities of immigration. As this vivid new musical-opera cross-breed from Cape Town’s Isango Ensemble reminds us, South Africa is the migration magnet for its continent, with all the opportunities and problems this entails.

Isango, under the direction of Yorkshire-born Mark Dornford-May and made up of performers from the townships around Cape Town, have previously delighted London audiences with the likes of The Mysteries. Once again here they play to their many tuneful collective strengths to adapt Jonny Steinberg’s book of the same name and tell the story of young refugee Asad.

Left alone aged eight in tribal warfare-riven Somalia, he makes his way via Kenya and Ethiopia to what he hopes will be the promised land of South Africa, all the while dreaming of the almost mystic-sounding glory of the USA.

A Man of Good hope to watch at The Young Vic until November 12

To the powerful and sometimes haunting accompaniment of seven onstage marimbas, Asad’s story unfolds in joyous ensemble singing. Asad over the ages is played by four actors and the significant women in his life are portrayed by the talented Pauline Malefane, a performer of considerable stage presence. A little editing and sharper pointing of some sections would help, but these are tiny quibbles in the face of the considerable riches on offer.

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Until Nov 12, Young Vic; youngvic.org

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