The Democratic Republic of the Congo has a deeply chequered history, with several name changes and millions of lives lost. Please re-read those last four words, so they sink in.
La Belle Epoque provides distressing insight into just what has gone down in the second largest country in Africa … and what is still happening.
It juxtaposes that with a love affair between two African Australians.
The play starts by outlining the history of man and how it all went skewwhiff.
Then it details the impact the rulers of the nation had in subjugating the inhabitants of the land.
Particular focus is paid to King Leopold II of the Belgians who regarded the territory as his personal fiefdom, to exploit as he deemed fit.
And misuse it he did, as did conquerors before and after him.
Slaves, diamonds, rubber and rare earth minerals from pre-colonial times to the modern day: all were considered fair game.
The beneficiaries – the wealthy West, namely foreign governments and ruthless multinationals.
Labour was cheap and the rewards great, irresistible in fact, but at what price to the Congo?
The answer is shockingly clear – enormous.
La Belle Epoque showcases the historical record through text, footage and photos.
The cast consists of four actors of African heritage.
Chris (Mike Ugo) is a Congolese refugee and Isioma (Effie Nkrumah), a 22-year-old Nigerian Australian. She came to this country with her migrant parents when she was a baby.
Chris is an aspiring actor who also runs a small import business.
Isioma is studying political science at university and is hoping to become an influencer through social media.
The pair has been dating for three years when, much to her dismay, Isioma discovers she is pregnant.
In the short term, marriage seems a remote possibility because Chris won’t be able to afford the large dowry Isioma’s parents seek. The fact is, he hasn’t even met them.
But neither would her parents countenance Isioma giving birth without her being married … so what are they to do?
Chris and Isioma are involved in putting together what starts out as a 10-minute clip cataloguing the history of the Congo.
To do so, they are working with a two person crew (roles filled by actors Nelly Kouakou and Tariro Mavondo).
Arguments mount as to what should and shouldn’t be included.
It doesn’t help either the project or Chris and Isioma’s relationship that the former is secretive and guarded about his past, including his family.
That is only revealed at the end of the production.
Written by Future D. Fidel, La Belle Epoque (which translates to “the good old days”) is an eye opener.
It highlights to me just how little is commonly known about the Congo.
The West appears to have largely turned a blind eye to the atrocities perpetrated there.
A lot is crammed into the 80-minute running time, but there is no running away from the ugly truth.
The actors do a fine job bringing this to the fore, assuming various roles in their respective journeys on stage.
There is a feistiness that is apparent, alongside a fire in their bellies.
Mixing the past with the present – personalising it to reflect on the difficulties inherent in a situation where a young woman finds herself pregnant – works well.
It provides light and shade to a piece that could otherwise be mired in misery.
The former takes the form of the mythical (courtesy of a rock of special significance which is frequently referenced) and the romantic and humorous.
These are presented alongside the harsh realities, in an endeavour that requires concentration to take it all in.
To do so will shock you to your core.
I found La Belle Epoque deeply affecting.
Reading the words about death and displacement on twin screens at the end of the play highlights just how important a work it is.
Directed by Budi Miller, it is on at Theatre Works until 20th July, 2024.
Comments