THE GREAT PRIVATION (HOW TO FLIP TEN CENTS INTO A DOLLAR)
Image credit — Sami Sumaria
The Great Privation (how to flip ten cents into a dollar) by Nia Akilah Robinson
The Great Privation (how to flip ten cents into a dollar) explores an intimate relationship between a mother and daughter while they battle against societal structures that are built to oppress and dehumanise them. Nia Akilah Robinson’s play takes us through the dehumanising practice of grave-digging, the significance of black womanhood and how issues that plague African American women have persisted across centuries. She explores the makings of generational curses and blessings, and the integrity of preserving and honouring one's lineage.
The play warps timelines and adopts a similar approach to storytelling as seen in Yaa Gyasi’s Homecoming. We flit back and forth between 19th century Philadelphia where the boisterous yet well-meaning teenage Charity (Christie Fewry) accompanies her mother Missy (Sydney Sainté) in guarding the grave of her recently deceased father, Moses, who died from cholera. While trying to ensure he makes a peaceful transition to the afterlife, Charity and her mother come up against the ominous “resurrectionists” who seek to dig up Moses’ body to use for medical research.
The unsolicited use of black people’s bodies for medical research was a phenomenon common in the 18th and 19th centuries, and mostly targeted African American corpses, robbing them of dignity even after death. The Great Privation’s gravediggers are a sinister white man named John (Jack Goldbourne), and a black janitor (Romeo Nika) whose loyalties can be bought, and ultimately shows us how to “flip ten cents into a dollar”.
In the present day, Missy and Charity are a mother and daughter duo spending their summer working in a vacation camp with the flamboyant camp counsellor, under the highly tense yet endearing Cuffy. Unbeknownst to them, they are mere yards away from where Moses, their family’s patriarch is buried, and standing in the same spot, occupying the same space that the Missy and Charity of the past once did. Sainté and Fewry are captivating as mother and daughter, with Sainté in particular offering a strong and memorable performance in both roles.
The bond present in both of the mother-daughter relationships is one of tenderness and love that Fewry and Sainté deliver with great chemistry. The words of affection echo through generations, and we watch as both pairs recognise, accept and embrace their differences. By the end, modern-day Missy and Charity are able to complete the work started by Missy and Charity from the past and lay Moses to rest.
The play’s content is dense and often falls into the trap of talking at the audience about important issues, rather than embedding them in the story. There are some hilarious moments, namely, Mika bopping across the stage as “Black Jesus” in Air Jordans. However, some of the humour did feel out of place when dealing with the more serious themes of the play.
Ruth Badila’s costume design has Missy and Charity in the 19th century don formal wear that looks too extravagant for their surroundings, with Charity in a bold pink and green corset and skirt and Missy in a demure yellow and brown set. In the present day, they both sport the Camp uniform and denim bottoms, allowing the actresses’ performances to highlight their differences.
The play’s set is a simplistic set up of white doors and a grave made up of a rectangular box in the centre. The sound and lighting are understated and extremely effective in taking us to and from both worlds consistently.
Robinson’s UK debut is an enjoyable and emotional watch. Whilst it does sometimes lack nuance and fluidity, its message is important and the relationships between the characters are a rewarding highlight.
By Melody Adebisi
The Great Privation (how to flip ten cents into a dollar) is showing at Theatre503 until the 01 June, 2024.
★★★☆☆