This Plot is Not for Sale raises important questions about opportunistic schemes disguised as progress for the greater good. The story follows Petronila Bochaberi (played by Gisemba Ursula) and Katharina (played by Theresa Seraphin), who are committed to a grand vision for Africa under an NGO that is fully funded by Katharina (Germany). The two visit a photo studio owned by Stevan (played by Denijen Pauljevic), where their true selves and intentions are revealed.
For Katharina, her initial desire to help evolves into a feeling of being used. For Petronila (Kenya), the goal of building a new Africa shifts to a struggle for survival. The play encourages a deeper exploration of their perspectives, highlighting the many stares, confrontations, and opportunistic gazes directed toward individuals like Katharina, as well as the relentless hustle culture experienced by Petronila, which drives her to do whatever it takes. We must also consider Stevan, the bystander who recorded a significant moment in history. He feels guilt for his involvement, knowing he captured the scene in the frame.
The trio, who gave a spectacular performance, elevated the experience with audience engagement that made viewers feel immersed in the story. This Plot is Not for Sale uses its technically demanding narrative effectively, enhancing the absurdity of the characters’ self-imposed irrational dreams that mask their true intentions. The projections draw the audience into their visions, allowing you to gasp in disappointment alongside the characters.
However, technical issues arose when the subtitles were delayed or not visible once the black curtains were drawn for the screenings. Some of the photos projected would have benefited from the dimming of the lights, a slip-up you would expect rectified on the second showcase in a scene pivotal to Stevan’s arc.
This Plot is Not for Sale was an introspective experience that left no room for hypocrisy or half-truths. We all need that occasionally, don’t we?
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