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Note: This is show not from the current year being displayed. This show appeared in 2017 at The Free Edinburgh Fringe Festival


Di Vino Productions | View Performers Biography


Venue:The Phoenix, 46-48A Broughton Street Edinburgh EH1 3SA
Phone: 0131 557 6944
Links: Click Here for venue details, Click here for map
Ticket Prices: Free  
Room: Phoenix Below
AUG 8-20 at 20:45 (60 min)
Show Image

A black comedy about a black family living in Hackney.

Explores the horror and hilarity of a family overcoming prejudice in all its ugly forms, exploring how that affects the human character in the context of being an African immigrant family in modern-day Hackney. I draw parallels between oppressed groups; women, ethnic minorities, the working classes and LGBT people by playing characters who, through the lottery of birth, battles these disadvantages.

Drawing from personal experience to inform the dialogue and themes covered in my work, basing the flaws and cutting humour on African women I've met and in my family, I tackle the issues around a woman from Kengeria (a fictional pan-African state, playing on the Western belief that Africa is mono-cultural) feeling lost in the British class system, desiring the prestige of the white upper class (which she reads about in Kengeria in the fictional Ey! Ey! magazine, a parody of Hello!) but finding her reality of white working class and immigrant communities in Dalston frustrating and unsatisfactory "I see no champagne and caviar but tatty Gregg and chicken and a chip shop!"

Auntie recounts the difficulties of a youth spent in a misogynistic African country, conveying her bitterness and pain from her troubled relationship with men, memories of an abusive father and husband, who mocked her for being "bushy" e.g. not displaying desirably sophisticated Western qualities, this post-colonial identity crisis manifesting as outrageous remarks fuelled by internalised misogyny and racism, producing authentic but uncomfortable laughter.

Auntie's mixed-race, "bastard" son, Mtoto, born in Kengeria, is a dark mirror of myself, exhibiting the same confusion, bitterness and prejudice as his mother, his cutting observations a form of therapy for exorcising these dark feelings.

He, in the white heat of family drama, throws vicious shade at his mother, vocalising her hypocrisy,
labelling him as a "sinner" but highlighting how she goes to church to gossip and flounce, in her "Ridley Road Market couture" having to wipe his iPad clean of her pornography and sending explicit pictures to various men. Discussing racism and homophobia, singled out for his lighter skin in a
predominantly black school, mocked as effeminate by other pupils and mother, his comedic but depressing attempts to blend in including wearing a baggy tracksuit in Rastafarian colours with his hood up, before revealing his flamboyant clothing and makeup underneath.

A resolution is met, however, by Mtoto recognising his and his mother's joint social exclusion and how, despite their present differences, their relationship is ultimately unbreakable because of their mother and son bond.

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