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Alphonsine Mumureke (Nneka Okafor) is in a trance as she believes she is seeing the Virgin Mary in Katori Hall’s OUR LADY OF KIBEHO (photo © 2014 by Joan Marcus)

Alphonsine Mumureke (Nneka Okafor) is in a trance as she believes she is seeing the Virgin Mary in Katori Hall’s OUR LADY OF KIBEHO (photo © 2014 by Joan Marcus)

The Pershing Square Signature Center
The Irene Diamond Stage
480 West 42nd St. between Tenth & Eleventh Aves.
Tuesday - Sunday through December 7, $25

Inspired by several trips to Rwanda, Memphis-born playwright Katori Hall approaches the horror of the 1994 genocide from a different perspective in Our Lady of Kibeho, the second play of her three-work Signature Theatre residency and the follow-up to Hurt Village. Based on actual events, the play, set in 1981-82, tells the story of sixteen-year-old Alphonsine Mumureke (Nneka Okafor), a student at an all-girls Catholic school in the small village of Kibeho in Rwanda. As a choir sings a religious hymn in the Kinyarwanda language, the mean Sister Evangelique (Starla Benford) and the handsome headmaster Father Tuyishime (Owiso Odera) are arguing over what to do with Alphonsine, who claims to have seen a vision of the Virgin Mary, known as Our Lady of Kibeho. While the sister wants to severely punish the girl for telling such obvious lies, the father wants to first find out more about what happened. “I am not lying. I promise. I only speak the truth,” Alphonsine says, desperate for everyone to believe her, for she needs to spread the message Our Lady is imparting to her. Sister Evangelique and student leader Marie-Clare Mukangango (Joaquina Kalukango) conspire to prove Alphonsine wrong, but when more girls begin to see the visions, soon Father Flavia (T. Ryder Smith) arrives from the Vatican to attempt to validate the claim.

(photo by Joan Marcus)

A Vatican priest arrives in a small Rwandan village to validate a vision of the Virgin Mary in OUR LADY OF KIBEHO (photo © 2014 by Joan Marcus)

Our Lady of Kibeho takes place on the Signature’s Irene Diamond Stage, with three video projections by Peter Nigrini of the Rwandan mountains around Kibeho set high on the walls; combined with Rachel Hauck’s village set, Emily Rebholz’s costumes, and Michael McElroy’s African music, the design places the audience right in the middle of the action, especially as director Michael Greif (Next to Normal, The Intelligent Homosexual’s Guide…) has members of the cast literally walk through the crowd. It’s as if the audience is being asked to believe just as much as the characters are, especially during a fantastic, otherworldly scene that closes the first act. But Hall (The Mountaintop, Children of Killers) never proselytizes, incorporating the ethnic battle between Hutu and Tutsi as the girls fight among themselves, their relationships changing as more of them believe what Alphonsine is telling them, a call for prayer to prevent a frightening prophecy of Rwanda’s future. The fine cast is led by Okafor, Benford, Odera, and Mandi Masden as Anathalie Mukamazimpaka, the second disciple. Our Lady of Kibeho is a moving, powerful, terrifically staged play about innocence and faith, about prejudice and belief, an involving tale no matter what religion, if any, you might be. (As with all Signature productions, the wall outside the theater is filled with information about the play and the real story, but it’s better to read it all afterward so as not to spoil the narrative surprises as the drama unfolds.)

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