Queuing outside the door of the Alliance Française hall, I admit, I was clueless about what I was getting myself into.
Picture this: a duo that is always a menace, a menace that you can’t help but love, if you are part of the audience and not in their lives, because the latter will have you wishing you never set your eyes on them, introducing Magdalene and Catherine, cousins who embody the play’s title without blemish. This duo is confident in their minimal knowledge of the world around the internet, unafraid to form their perceptions on it, not a minute passing by without a laugh-inducing trending lingo thrown your way.
Magdalene’s dad has the misfortune of enduring this day by day, but the line gets crossed as he arranges their marriage to two dignified sons of politicians. The duo, however, rejects them most embarrassingly and hilariously, demonstrating that they are out of their league. With the two lads out of the way, two middle-aged men, Mars and Morris, visit with an interest in the girls. The ladies flirt with the two, falling for their lies – claiming to be government officials, poets, and established actors – only for the previous lads to reveal that Mars is a gardener and Morris is a watchman working for their fathers in a humiliation stunt I never want to witness again. The drama prompts Magdalene’s dad to send the duo back to Ukambani.
Vivian Nyawira and Terry Ng’ang’i play Catherine and Magdalene, respectively, their subtle portrayals making each appearance a highlight. Their mastery of the Kamba accent leaves one not only cackling but also eager to recite some of their superbly delivered phrases. Mars and Morris, played by Martin Githinji and Dominic Mutemi, respectively, embody the concept of having one another’s backs, living in one another’s fiction in the struggle to catch their bait.
Vienyeji Pro Max impeccably inserts political commentaries in hilarious ways, seamlessly integrating them with the events, with not a shred of unintentionality in their placements. The sets blur the line between a stage and a Garden Estate compound, brilliance channeled by Production designer, Stuart Nash, who doubled as the director.
The pacing has you glued to your seat with one bombshell after another, each plotline delivered with convincing portrayals and rib-cracking humor.
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