They Drink it in the Congo
Page 1
ADAM BRACE
They Drink it in the Congo
Contents
Title Page
Dedication
Acknowledgements
Premiere Production
Characters
Notes on the Text
Part One
One
Two
Three
Four
Five
Six
Seven
Eight
Nine
Ten
Eleven
Part Two
Twelve
Thirteen
Fourteen
Fifteen
Sixteen
Seventeen
Eighteen
Nineteen
Twenty
Twenty-One
Twenty-Two
About the Author
By the Same Author
Copyright
THIS PLAY IS DEDICATED TO
Mama Annie Matundu who hosted me in DRC, found me contacts and guides, fed me and laughed at my dancing
C & K who started my engagement with their homeland and and who taught me so much
My agent Rosie Cobbe, who convinced me not to give up on it. And even lent me her laptop to finish it when both my computer and I were broke
Sebastian Born, who originally commissioned it, shaped my thinking on it, helped me fund my trip to Congo and even understood when local bribes didn’t yield receipts
ACKNOWLEDGEMENTS
I talked to a lot of people while researching this play – my thanking them does not mean they endorse the outcome. My thanks to all the Congolese in London who have talked to me over the past few years. A number of you have specifically asked not to be named. Equally the NGO professionals I have interviewed. I observed a number of public meetings, campaigns, events and festivals on Congo, but this play is not based on them or a reflection on their success.
I began work on this play at the National Studio, thanks to the brilliant support of Purni Morell. Rob Icke has always believed in it and helped it find a home. Michael Longhurst has pushed for the play to happen and helped shape the final drafts.
Warmest thanks to Nounou Bootu and Victor Ilunga (both of whom have characters named after them who are nothing like them). Vava Tampa. Tamsin Larber. Mama Cecile for her hospitality. JJ Bola for hearing me out. Jean Christophe for looking after me in Congo. Stephen Carter. The English Department at University of Kinshasa. Dr David Garbin at UKC. Dr Zoë Marriage at SOAS. Professor George Nzongola Ntalaja. Dr Will Jackson and Dr Jo Sadgrove at Leeds University. Sophia Pickles. Anneke von Woudenburg and Human Rights Watch. Sue Lukes. Writing by Jason Stearns (Dancing in the Glory of Monsters), Dr Wa Gamoka Pambu, Professor George Nzongola Ntalaja, David Van Reybrouk, William Hothschild, Dr Zoë Marriage, Michaela Wrong, Anjam Sundaram, David Garbin (Mediating the Sacred in the Congolese Diaspora), In theatre terms: Dan Rebellato’s Theatre and Globalisation. On folk tales: Angele Kadima-Nzuji Kabwasa (Song of the Mermaid and Other Folk Tales from the Congo), Notes on the Folklore of the Fjort by Richard Edward Dennett. Melvin Burgess’s Folk Stories from the Congo.
My parents Nikki and Nigel Hopkins. Elaine Hopkins. Diane Brace. Cath and Mike and all at Moulin Ferrand. The brilliant Oliver Birch who helped develop the character of Tony. Vicky Jones, for her great input and for convincing me not to give up on it. John Ginman. Seb Armesto. Justin Audibert who directed and cast the first reading. Nick Payne. Charlotte Westenra. Chris Haydon. Sh!t Theatre. William Oldroyd. Chris Kelham. Ben and Tiff Woodsmith. Jimmy McGhie. NJHG Cartwright. Phoebe Waller-Bridge. Miriam Nabarro. Sergei Gratchev. Ella Hickson. Tobias Menzies. Rufus Norris for developing it and supporting it. Al Smith for being a diamond. Sam Hodges for being a great boss and friend. Becca Fuller, for brilliant ideas and for picking me off the floor. My brother Al for all the ritalin.
They Drink it in the Congo was first performed at the Almeida Theatre, London, on 12 August 2016. The cast was as follows:
Jenny / Intern / Meredith / Carmen Kirsty Besterman
Stef Fiona Button
Luis Richie Campbell
Maurice / Pastor Joshua Sidney Cole
William / Samo / Oliver / Kevin Tosin Cole
Huw / Hakan / Fred / Ian Roger Evans
Tony Richard Goulding
Kat / Alice / Patience / Suzanne Joan Iyiola
Anne-Marie Mweka Anna-Maria Nabirye
Nounou / Ira Coleman / Mama Beatrice Pamela Nomvete
Victor Richard Pepple
Oudry Sule Rimi
All other parts played by members of the company.
Musicians Joseph Roberts, Crispin Robinson, Alan Weekes
Direction Michael Longhurst
Design Jon Bausor
Composer and Music Direction Michael Henry
Lighting Jack Knowles
Sound Giles Thomas
Movement Direction Diane Alison-Mitchell
Casting Anna Cooper
Costume Supervision Sydney Florence
Dialect and Voice Coach Zabarjad Salam
Dialect Consultants and Translation Donovan Lee McGrath, Nickens Nkoso
Fight Direction Bret Yount
Characters
Oudry
a father from South Kivu, DRC, the voice of digital technology. Congolese male, late thirties
Stephanie Cartwright
campaign co-ordinator.
White English female, about thirty
Anne-Marie Mweka
campaigner.
Congolese female, late thirties/forties
Tony Jarman
event consultant. White English male, about thirty
Luis
a leader in Les Combattants. Congolese male
Victor Malumbu
businessman. Congolese male, middle-aged
Huw Bennion
MP for Clwyd West. White Welsh male, forties
Kat
assistant to Stef, an intern.
Black British female, early twenties
Nounou
a neighbour of Anne-Marie.
Congolese female, late thirties/forties
Jenny Walton
Human Rights Monitor.
White English female, thirties/forties
Maurice
a Secretary in Les Combattants
Congolese male, forties/middle age
William
member of Les Combattants. Congolese male, twenties
Ira Coleman
author. African American female, forties/fifties
Suzanne
Anne-Marie’s daughter.
Congolese British female, fourteen/fifteen
Oliver
a comedian. British Congolese male, twenties
Pastor Joshua
of New Jesus Church. Congolese male, middle-aged
Carmen Lankena
photographer. White American female, thirties
Samo Muwanga
Children of Conflict. Ugandan male, late twenties
Fred Fletcher
Conflict Mineral International.
White British male, forties
Alice Ekofo
DRC Horizon.
British Congolese female, early twenties
Patience
a village girl, Oudry’s daughter.
ongolese female, twelve/thirteen
Mama Beatrice
her mother, Oudry’s wife.
Congolese female, thirties
Meredith
a nurse. White Canadian female, twenties/thirties
Hakan
a kebab shop worker. White Turkish male
Ian Wandless
a podcaster. White British male
Militia M
an
Congolese
Kevin
a policeman.
Black British male, late twenties/thirties
Intern
White British female
Diaspora 1
Congolese
Diaspora 2
Congolese
Journalist 1
Journalist 2
Poppy Eden Ellis
Ape Foundation.
An RP, late twenties, English voice
Radio
an American voice
THEY DRINK IT IN THE CONGO
Notes
indicates an empty silence: a silence in which it’s not clear what to say.
indicates a full silence: a silence in which things are actively not being said.
A forward slash ( / ) indicates the point at which the next character speaks over the remainder of the line.
No full stop at the end of a line means that the thought is unfinished, interrupted or part of a fluid exchange of dialogue.
Speech within angle brackets (< >) is in another language (Lingala, French, Swahili) and is spoken without Congolese accent – something comfortable for the speaker and the listener, approaching a ‘neutral’ English accent, manifesting ease of expression while offering ease of comprehension. Such speech can be surtitled in Lingala/Swahili if it’s felt this aids the clarity of the convention and the themes of the play.
Oudry is the voice of all the digital technology in the play. In a Congolese accent.
The play would benefit from a Congolese rumba band (or a smaller representation of one).
My stage directions are up for grabs, but give a strong indication of the sort of thing.
The action should be fluid and scenes/sections can flow into one another.
Part One
ONE
THE COMPASSION INDUSTRY
Anne-Marie, alone. She could be addressing us. Or an unseen character.
Anne-Marie Just another evening. Rich whites and Congolais. Dressed up smart to hear people talk about Congo. White words from black mouths. Maybe watch a rumba. And feel bad because of the problems. And feel good because we are caring. And everyone enjoys a little visit to Congo. But nobody has to go there.
That’s what this event is. And it has no value.
Stef enters.
I’m sorry, Stephanie, but that’s what this event will be.
Stef I will make sure it’s not like that, Anne-Marie.
Huw enters.
Huw What d’you think the main thing going against this festival is?
Stef Apart from money?
Huw Not money
Stef Apathy. Lack of Congolese support.
Huw The main thing against this festival. Is that it’s pathetic.
Stef Right.
Okay.
Huw Your festival’s pathetic.
Stef Well, I.
Yeah. Well, I haven’t organised it yet.
Anne-Marie No. Sorry. We Congolais, we have our own campaigns.
Stef Your protest yesterday. Did it appear in any British media?
Anne-Marie I cannot help what British media do.
Stef I think our festival can.
Huw It will be pathetic won’t it? Most likely. A problem nobody understands, middle of the jungle, fucking miles away and it was never one of our colonies anyway. Waste of time.
Stef Sorry, why did you employ me to do it then?
Huw I just want you to argue your corner.
Stef I know, it’s a very transparent tactic.
Anne-Marie No offence to you, Stephanie, but. No more white angels. Coming to help African fools. We help ourselves.
Stef But don’t you protest because you want help?
Anne-Marie We want people to take hands from our pockets.
Tony enters.
Tony Take it you need my help.
Stef Tony! It’s been too long! You smell good, what’s that?
Tony Aftershave.
Stef I mean what brand
Tony Oh. One of the designer ones.
Stef Coffee?
Tony Love one.
Oudry Internal network:
Stef Can you send a coffee in, please, any available intern. Black, and a peppermint tea.
Tony That’s very specific, black intern
Stef Tony
Tony That’s when you know you’ve made it, you can specify the race of your intern
Stef Let’s make these jokes when we’re not in a government building.
Tony Hi, could I have an Amerindian bring me a plate of truffles please!
Stef Do you think you say these things ironically, Tony? Because the worry is you say them more. Ronically.
Huw The worry comes when you half believe that it is pathetic. Because the horror of Congo, and how difficult it is to make anyone care. Plus the time that you spent there. When that all weighs on you. This campaign will seem pathetic.
Anne-Marie So your campaign wants Congolese so it can seem authentic?
Stef No, Anne-Marie, the campaign wants to give Congolese a voice. It’s even called ‘CongoVoice’
Anne-Marie We have a voice, you don’t give us a voice
Stef Yes, but can I be blunt. You don’t know how to use it.
Anne-Marie And you don’t know how to listen.
Tony What do I know about the place? Not much. I know a bit about their drinking habits.
Stef Is this a joke about UmBongo?
Tony Might be.
Huw But it is not pathetic. You’re combining Congolese diaspora here with Western NGOs. Campaign backed by Parliament and a big festival to start with a bang. Something with the spirit and culture of Congo at its heart.
Oudry Telephone call
Stef I don’t think that’s me.
Suzanne enters with a phone outstretched.
Oudry Telephone call.
Suzanne It’s Grandpapa again. He’s talking crazy in Lingala
Anne-Marie I’m sorry my father’s medication does this sometimes. (On phone.)
Suzanne (no enthusiasm) Pleased-to-meet-you.
Huw If it works you can raise awareness, lobby Parliament, lobby business. Change how we view Congo.
Tony They don’t actually drink it there do they?
Stef What’s the ratio of me mentioning Congo to people making a joke about UmBongo?
Tony Something like one to one?
Suzanne Another Congo thing, right?
Stef ’Fraid so.
Suzanne (to Stef) Gonna pay her?
Stef It doesn’t really work like that.
Suzanne rolls her eyes.
Tony We’re not actually a lobbying company we’re a PR company.
Stef What events are you running for them?
Tony Currently it’s a form of rights for women.
Anne-Marie (to phone)
Tony The rights for women in certain industries to have more. Opportunities.
Stef Certain industries.
Tony Sort of. Performative arts.
Stef Oh God, it’s strip clubs isn’t it?
Tony Look, PR budgets are down, you can’t always choose your clients. I fucking knew I shouldn’t have come here.
Anne-Marie (off phone) We must finish.
Suzanne Can I have my phone please?
She takes it and starts leaving.
Stef Great meeting you, Suzanne.
Anne-Marie (shakes) English girl now. Doesn’t speak Lingala.
Stephanie, Congolese here try every day for back home.
Stef Let’s channel that energy into making CongoVoice truly Congolese.
Anne-Marie (laughs) This event may be many things but truly Congolese is never one.
Stef How can I change that?
Anne-Marie You cannot.
Huw I cannot promise you’ll still have a job in six months. If you can launch the festiva
l, then there’s a job running the campaign. And if you can’t, you can always go back to – what was it?
Stef Freight insurance, no I can’t
Huw Really?
Stef I walked out on them to do this. My references stink.
Huw So you’re stuck in the Compassion Industry.
Tony What’s the point?
Stef Raise awareness
Tony Of what?
Stef The problems of the Congo.
Tony Which are?
Stef How long have you got?
Tony I think the point is, it’s about you.
Stef It’s not.
Tony It’s about you being born in Africa, in Kenya, and being guilty about it
Stef It’s not. It’s absolutely not. It maybe is a bit but it’s mostly not.
Anne-Marie It’s not because I don’t trust. It’s because if this event is white words from black mouths it has no value. And my community never will listen to me again.
Stef How about if I guarantee Congolese are present to vote on all campaign decisions?
Anne-Marie How many?
Stef How many would you want?
Anne-Marie One-third.
Stef How about
No. One-third. Our committee will be one-third Congolese. No Congolese, no festival. I promise. Will you help?
Anne-Marie I will see you tomorrow at your meeting.
She exits.
Huw Diaspora meeting tomorrow. Wear your best shit-proof jacket.
Stef Could I quickly run some ideas / past you
Huw Sorry. No.
Stef No?
Huw Look: I’m not going to have time to be a sympathetic ear. I’m not your boss, I’m the MP for Clwyd West. And I’ve been in East Congo with you and I trust you. So y’know, get on with it.
Tony I can use Google, you know. I do know why I’m here. Your Congo campaign has no PR attached with a press launch in a week. And you want me to do it for very little money.
Stef Actually no money.
Huw Oh, one thing: the attack on the village. Distasteful I know but.
First-hand stuff. Really gets through to people.
Huw leaves. Tony and Stef are in her office. Portcullis House.
Stef Tony I’ve missed you and this is as good a chance as any to. Catch up.