The Lady in Red, written and directed by Marvin Kibocho, follows Andrew and Amelia, a couple in the early stages of their divorce settlement. Amelia (Carina Rumberger), an American, feels pressured not only by her in-laws but also by her husband to have children, but being the sole provider in the marriage prevents her. Andrew (Sam Psenjen), a Kenyan and struggling painter, feels neglected, and his career is looked down upon, along with his wish to have children. This rift draws in characters like Anita (Boera Bisieri Maxe), who fancies Andrew and is plotting to win him and Amelia’s wealth after their divorce.
This drama is cut off by medical revelations of Amelia’s pregnancy, miscarriage, and cervical cancer survival, bringing the couple closer together and oblivious to societal norms and pressure.
The Lady in Red, like most Son of Man plays, felt intimate in its family setting, relying on performance to keep everyone engaged. Sam Psenjen (Andrew) and Carina Rumberger (Amelia) embodied broken characters so convincingly that it felt like you were watching a dance between them as they gel through every scene.
The duo’s egos are dismantled in the end through a satisfactory reunion that complements their battles, leaving just enough to keep their personas and marriage intact, a nod to great writing.
Technically, the set stationed in the Cheche Gallery induced a sense of being invited into someone’s home only that there’s a lot of drama ensuing. The blocking made it feel as if the characters were one with the home, as it should be. The voice-overs and music placements faltered at times.
An enjoyable watch in this rosy season.
