A Man Like You

Reviewed by Karl O'Brian Williams

A man is held hostage and ends up sharing meaningful dialogue with his captor over a board game, meanwhile his wife frets away at home. This is the simple set up of "A Man Like You" an original play from Silvia Cassini influenced by the real life tragedy of a terrorist attack on shoppers at the Westgate Mall in Nairobi, Kenya, in 2013, which killed 67 persons. The more complex inner workings of the play however, attack all your senses like viruses looking for a host. You won’t be able to look away. The play had its world premiere earlier this year in Nairobi, and is now brilliantly disturbing New Yorkers on east fourth street until July 31st.

Cassini identifies as a Kenyan playwright, but from this work she clearly wants us to see "A Man Like You" as a universal human story that explores the differences in how faith, and largely socialization, birth place and country shape one’s perspectives and actions. The captor presents himself as Somalian, and the captured as British. One is white, one is black, one is Christian, the other Muslim, both have families, hearts and, other organs, and urges that make them want to survive, and thrive. Through an incredible set up the audience gets a glimpse into how they feel about each other as each judges the other’s racial, ethnic and religious group and tries to justify himself as victim, or soldier of a righteous cause, if you will. At times Cassini overindulges, but what’s on the stage is so engaging you keep listening. Heyer’s direction prods everything forward, and a part from some odd movement in the space, which could easily be re blocked, I can remember no dull moments.

The overall design of the show was excellent. The separation of worlds we receive and easily believe was maintained throughout, and only punctuated by the strong performances of the cast. The lighting was sublime, flickering with tension and uncertainty, and manipulating our gaze to what we needed to see or attempt to un-see. Lev Choubine’s original music haunted us, and its subtlety toyed with our emotions as much as Cassini’s words. Jenny Boote as Elizabeth the hostage’s wife was a lone figure juxtaposed between the mental and physical space of middle class ease and discomfort. Her New York debut should not go unnoted here. Matthew Stannah as North the hostage, and Jeffrey Marc as Abdi the captor, both had provocative moments, especially when their characters displayed human frailty and the kind of civility that can only happen when shreds of honesty are mixed with genuine compassion. The henchman, a character ably played by Andrew Clarke, then interrupts this atmosphere keeping the threat of death and doom ever real.

"A Man Like You" is worth seeing. It is a violent play, but not just in a traditional, blood-shedding, physical sense; the greater violence comes from its ability to provoke varied thought that constantly shifts and creates psychological battles. In debating who wins or loses these battles, if it truly matters is part of the violence.

"A Man Like You," written by Silvia Cassini. Directed by Yudelka Heyer. Directing Assistance by Christopher Wharton. Original Music by Lev Choubine. Lighting Design by Michael O’Conner. Costume & Props Design by Yedelka Heyer. Set Design by Christopher Wharton. Stage Management by Annie Rosenberg. Produced by Red Soil Productions.  Runs through July 31, 2016. At IATI Theatre 64 E4th Street. www.redsoilproductions.com

Karl O’Brian Williams is a playwright, actor, and director who currently lectures at the Borough of Manhattan Community College in the Speech, Theatre & Communications Dept. His play Not About Eve has received awards in his native country Jamaica, as well as 3 AUDELCO nominations including one for Best Playwright.