Review: Fixer @ Oval House Theatre

The Prompt always enjoys an evening at the Oval House Theatre, and this one proved again that London's fringe and African themed theatre scene is very much alive and kicking.

Fixer explores the relationship between Western journalists and those individuals on the ground connected with headline grabbing stories abroad; centering on a conflict between a major gas company and a group of rebels in the north of Nigeria. A pipeline has been attacked by insurgents, and two British writers are eager to get complete coverage for their respective employers by whatever means necessary. The play highlights the cut throat exploitation of local people in a remote Nigerian town by these two characters, Dave and Lawrence, and leaves the audience debating upon the moral implications of their journalistic methods.

The Prompt was quick to note that this piece is extremely well choreographed, with quick and clever scene changes centering around minimal props and scenery (a crate of bottled Guinness's and a row of aircraft chairs are used cleverly to bring to life a multitude of different settings ranging from a 5* hotel to a rebel encampment). The entire cast is on stage for the duration, and those not engaged in dialogue form an interesting backdrop and supporting act to the scenes taking place.

The characters are brought to life by a diverse and animated cast, with some clever and highly amusing exchanges between Chuks (Richard Pepple) and The Porter (Nick Oshikanlu) providing some of the comedic highlights of this otherwise dark and thought-provoking story. Alex Barclay's 'Dave' is sublime, capturing perfectly the plight of a once well-established journalist who is over the proverbial hump and desperate to save his job and credibility, often by subversive and amoral means. 'Lawrence', played by recent RADA graduate Damola Adelaja, seems frustratingly naive as he starts out his journey on stage and undergoes an interesting and emotional transition of guiding principles as he comes to terms with the means necessary to succeed in this unregulated arena.

The Prompt has now had the pleasure of attending two performances at the Oval House Theatre that are part of the London via Lagos festival (the last being Arinze Kene's Little Baby Jesus), and is adamant that this has been a hugely compelling and successful programme. It is a real shame that more London theatregoers cannot find the time or the will to attend more of these types of events, as they truly fulfill the quintessential essence and purpose of theatre: to invoke within an audience an understanding of the human condition that they previously were unfamiliar with. Fixer does just that.