It has often been my experience that political dramas can lack a certain ‘je ne sais quoi’ in capturing the true turmoil of any particular body politic.  Company One’s production of The Overwhelming, however, was an exceptional exception.  The entire performance was tightly wound around an invisible, but palpable tension of something impending.  Every element of this production worked well to establish a sense of instability and ill ease, that I can only imagine comes with the volatile political and ethnic strife of Rwanda of the 1990’s. This poignant production portrayed, through the life in times an American family of three, the build up of political revolt in the African nation of Rwanda.  The anxiety builds as each family member explores and experiences different discoveries of the public discourse in the diverse Rwandan population.

The mixed ideologies of the complicated political history and present of the play were established in the versatility of ensemble members Chima Chikazunga, Fedna Jacquet, and Obehi Janice.  Doug Bowen-Flynn played Jack Exely with a potent naiveté that has, unfortunately, become synonymous with an American’s perception of world events.  His performance was quite effective, although I thought there could have been some more build up to the high solicitude with which the show climaxes in the final scene.  Mr. Exeley’s wife was played jocundly by Lyndsay Allyn Cox.  I enjoyed her performance most when she was listening to others speak.  This is by no means to suggest that any of her lines were delivered poorly.  She was, however, most alluring in her reactions to what she was learning from her Rwandan interactions.  Mason Sand was resplendent in his two roles: Jean-Claude Buisson and Jan Verbeek.  Both roles demanded a demanding dialect, which seemed to be of little distress of Sand, although I will say I was completely lost in the illusion of his well-delivered French dialect.  The evening’s stand out performer was John Oluwole Adekoje as Samuel Mizinga.  His dominating presence gave the impression of an aggression lying dormant underneath his cordiality at the outset of the show.  Oluwole Adekoje allowed a thinly veiled waxing hostility to hang, almost tangibly, in the air.  As the play progressed so progressed the blur Oluwole Adekoje cast on what is true or false and who to trust.

The basic cascade of black and brown platforms, benches and tables created an acting space that conformed to fulfill the need of the scene.  With sliding doors suspend upstage revealing an upstage room.  I in particular enjoyed the simple use of a florescent light over a counter to establish a police station.   The stage direction was well choreographed to facilitate the ¾ round theater.  I tip my hat to Director Shawn Lacount, not only for his stage direction, but his impeccable choice in casting.  The cast not only acted their parts well, but they physically fulfilled their roles appropriately, both individually and in comparison to one another. Many of the cast members spoke several languages as their characters with proficiency.  The constant moving and bustling of a market place and the imminent combustibility of a political flux were manifest by the talent of the actors, the words of the play-write and the skills of the creative team.  I regret the fact that this show is closing.  The pathos of this production was many.  While I would be remiss to say this production was perfect.  It was certainly one of the better shows I have seen in this year.  Company One’s production of J.T. Rogers’ The Overwhelming certainly was.

Emiritha (Fedna Jacquet) and Geoffery Exley (Gabe Goodwin) share an impassioned moment.