Indeed, this production delves into the realms of Bitcoin, cryptocurrencies, and blockchain technology. However, many share a sense of anxiety and confusion surrounding these topics, akin to the playwright Bell from “House of Ife”. Tessema effectively captures two key emotions in a predictably yet poignantly ominous portrayal of the dangers inherent in the cryptocurrency world.
The narrative centers around Emmanuel (Kieran Taylor-Ford, known for “For Black Boys”), a young adult faced with challenges when he is called out for selling a counterfeit designer bag, and his partner Abdul (Hassan Najib). The play illustrates how individuals can be drawn into the enticing realm of cryptocurrencies. However, the early warnings from Alma Eno’s character Fevan (Manny’s mother) create a predictable atmosphere, albeit effective in conveying the peril of investing a substantial amount of real money into intangible currencies, hinting that he could end up facing serious losses (“burned”).
Once Manny decides to invest in cryptocurrencies, it seems almost guaranteed that he will encounter financial setbacks. This encapsulates the reality of investing. While it’s reasonable for characters to voice their concerns, Fevan’s persistent worries tend to come off as excessive and contrived.
Before attending the play, I wondered how it would convey the complexities of cryptocurrencies to those unfamiliar with decentralized finance. The answer reveals itself through Manny’s journey; it mirrors the experience of those new to the crypto scene. Tessema’s script contrasts the protagonist’s urban dialect with the intricate jargon of the crypto industry, underlining the significance of digital familiarity and the allure of investment gamification. Gino Ricardo Green’s vibrant video design, along with Ali Hunter’s lighting (notably featuring red and green lighting reminiscent of market graphs), enhances this experience with vivid social media elements and striking colors.
Fevan’s new partner, Marcos (Ellie Nzalamba), grows frustrated with Manny’s new obsession and discovers that even a cautious stance toward cryptocurrencies can be manipulated through misinformation. Fevan dreams of establishing a community restaurant, while Marcos, humorously impulsive—evident when he clumsily proclaims “I love you” during a flirtation—illustrates the challenges of ambition within the Black community. This connects well to Emmanuel’s aspirations. Despite the poor judgment in his Bitcoin investments, Manny’s entrepreneurial spirit, fueled by the desire for recognition, remains commendable.
The struggle between self-reliance and security is beautifully depicted through Marcos, especially regarding the trust we place in others, capstoned in a tense scene before the interval where Fevan finds herself in a precarious position. The dialogue takes on an ambiguous tone as Marcos adopts crypto slang, swiftly adapting to the hype surrounding the “Digital Gold Exchange” (DGX) and even brandishing a playful finger gun.
The storyline is steered by a charismatic motivational speaker, Devlin (portrayed initially by “Hamilton’s” Jamael Westman, and later by Tom Maucci and an unnamed actor). His engaging crowd interactions and improvisation shine during the opening scene of the second act. Devlin serves as a satirical reflection of online influencers and entrepreneurs, echoing figures such as Andrew Tate. His rhetoric oscillates between pseudo-intellectual quotes from Malcolm X and conspiratorial narratives about banks and governments, revealing ulterior motives targeting specific communities. The play also provides a brief educational segment on how cryptocurrencies function, indicating that crucial educational moments often emerge late in the game when commitment to a speculative idea is made without due diligence.
Contemplating how to rate this piece took considerable thought. While there’s a degree of predictability and it follows a conventional narrative arc, it raises thoughtful questions regarding trust within the cryptocurrency sphere. The shift from tangible to virtual, along with the dynamics of independence and ambition, resonates profoundly in today’s context.
Tessema’s writing particularly strikes a chord when addressing the stark realities investors face after suffering considerable losses. This dichotomy between visionary pursuits and tangible economic repercussions parallels the bewilderment stemming from cryptocurrencies and the surrounding conspiracy theories. The play compels us to engage with its spectacle, leaving post-performance reflections on the terminology and plot nuances to be unpacked later.
Some might find the experience confusing or disheartening, but at its core, this ambitious piece encourages consideration of how swiftly we can act in the moment while contemplating broader implications afterward. Some may view its approach as more meta-theatrical.
“Wolves on Road” is currently being performed at the Bush Theater until December 21st.
Relaxed, sensory-friendly performances are scheduled for November 23rd and December 12th, with subtitled shows on November 28th and December 7th. Audio commentary will be available on December 4th, along with more sensory-oriented experiences on November 30th and December 7th.
Production image: Helen Murray.
Note: I was granted complimentary access to “Wolves on Road” as part of the press, in exchange for a review. While I know Daniel Bailey and Tatenda Shamiso personally and was not compensated for this article, the opinions expressed here are entirely my own.
