CityLife

Mogadishu

Malachi Kirby plays infuriating pupil Jason

Mogadishu
Royal Exchange Theatre
Janaury 31, 2011

Seeming so familiar in outline because we all too frequently read about something similar in the news, Mogadishu is a play for today.

The title is apparently a synonym for chaos but the motor driving events in the sort of inner city school we all hope our kids won’t have to attend, is premeditated vindictiveness, anger and emotional frustration in the form of Jason, a black kid with serious problems.

The story focuses on Amanda (Julia Ford), a white teacher who intervenes to stop a fight but gets pushed to the ground by Jason.

In a misconceived attempt to save him from inevitable exclusion, Amanda decides not to report him.

But this backfires disastrously when Jason accuses her of assault and racism.

Author Vivienne Franzmann was a London-based drama teacher for more than a decade and though she says what appears on stage isn’t autobiographical, it owes much to her own personal experiences and those of colleagues.

It raises important questions about pupil behaviour, parenting and society in general and as a story it grips.

It shared first prize in the Bruntwood playwriting competition in 2008 and it proves an accomplished piece, strong on character and plot, though the second act loses some dramatic impetus as it sidetracks a little too often.

Oldhamer Matthew Dunster is back to direct – last at the Exchange for his own memorable version of 1984 – and it’s just the sort of contemporary, edgy piece he clearly likes to get his hands on. He has certainly encouraged excellent performances from his young cast.

Malachi Kirby’s Jason oozes infuriating insolence and is responsible for much of the play’s conviction.

Memorable cameos too from, among others, Tendayi Jembere as the dim, malleable Chuggs and Michael Karim as the bullied Firat.

Designer Tom Scutt has put everything inside a mesh cage which reminded me of the lion act at Belle Vue circus. It’s a gimmick that distances the action to no positive effect I could discern and in fact on its first revolve there was so much happening that I entirely missed the play’s pivotal act.

This is probably one instance where the view from the tiers is better than from stage level.

Until February 19, 2011.