The Convert: Colonial History, Through The Eyes Of The Colonized Danai Gurira's play The Convert interrogates the experiences of the indigenous population in 1890s Rhodesia. Jeff Lunden talks with Gurira about her and her family's experiences in Zimbabwe, and the play's relation to the country today.
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Colonial History, Through The Eyes Of The Colonized

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Colonial History, Through The Eyes Of The Colonized

Colonial History, Through The Eyes Of The Colonized

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Next we'll meet a playwright who's been thinking about one of the more dramatic stories in Africa in the 19th century. It was the white colonization of the country that was, for a time, known as Rhodesia. The playwright turned that history into a visceral new play now on stage in Princeton, New Jersey. Whether you're ever able to see "The Convert" or not, it is worth hearing the story of its author.

Here's Jeff Lunden.

JEFF LUNDEN, BYLINE: Playwright Danai Gurira sometimes refers to herself as a Zimerican. While she was born in Iowa, she spent most of her childhood in her parents' home city: Harare, Zimbabwe. It's where her new play is set.

DANAI GURIRA: I grew up there from age five to 19, I'm back there every year. But I feel like there are things that I had to dig out through this process of creating this play. And, for some reason, I wasn't exposed to a lot – just in terms of how, you know, I was educated. I was educated very much in a neo-colonial way, honestly.

LUNDEN: Gurira says "The Convert" is the first play in a series she hopes to write about Zimbabwe, through the eyes of the people whose lives were transformed by Colonialism.

GURIRA: I was thinking one day and I was, like, I want to make a play that's sort of like an adaptation of "Pygmalion," about Zimbabwe. Because I just feel like there's so many parallel themes. And that's really where it was born from and then it just took its own route.

LUNDEN: In "Pygmalion," Henry Higgins takes a poor flower girl named Eliza Doolittle and teaches her to speak the King's English. In "The Convert," a young woman from the Shona tribe, Jekesai, runs away from an arranged marriage and is taken under the wing of a black Catholic missionary named Chilford.


LUNDEN: Gurira uses her own family history in the play. Her great-great aunt became a nun, fleeing a forced betrothal. Director Emily Mann says this was a common occurrence in Rhodesia in the late 19th century, when the play is set.

EMILY MANN: There were many, many women who ran to the church – some of them became nuns, some of them became teachers – basically, so that they could be free. You know, women were often fleeing being sold off, in a way, or being given away without their own permission to a man to be, you know, could be, as in this play, the 10th wife of an old man.

LUNDEN: And Jekesai or Ester, as she's christened, adapts quickly to her new situation. Pascale Armand plays the teenage girl.

PASCALE ARMAND: She's learned a whole new language. She's learned about a whole new religion, which she has put complete and utter faith in; like, puts her life into this new way of thinking and new way of believing.

LUNDEN: Leading her in this transformation is Chilford, who has renounced his own family and tribal traditions. And while his deepest desire is to become a priest, few black Africans were ordained in those days. He's a decent and well-meaning man, playwright Danai Gurira says, but...

GURIRA: He's a casualty, one could say, of the issue of colonization, in the sense that he really drinks all the Kool-Aid, like every last drop of it; really embracing, hook, line and sinker, the idea that a Christian god is very intertwined with the white man.

LUNDEN: The gap between doctrine and reality, black and white, causes the characters to be twisted like pretzels. For instance, Chilford is furious at Ester for correcting a white priest in church. But actress Pascale Armand says the village girl doesn't understand why she has to defer.

ARMAND: I have no understanding of racism. This is my first introduction to that term, to that ideology that I now have to deal with and be subservient to and, no.


LUNDEN: While white characters are discussed onstage, "The Convert" is told entirely from the black viewpoint. In an early draft of the play, Gurira says she attempted to write a scene with Chilford's white mentor.

GURIRA: I actually tried. I tried. I tried to put him on the stage. And I was like, no, it's going to be an absolute caricature. I'm not going to be able - and it didn't make sense. It just didn't make sense. I was like, this is going to be the play from the colonized perspective.

LUNDEN: The tensions in the society erupt and, in the second act, the audience finds out that Chilford's mentor has been killed. And, as "The Convert" unfolds, in highly intense fashion over the course of three hours, it becomes clear that, unlike Shaw's "Pygmalion," this is a tragedy; blood will be spilled, lives will be ruined. Director Emily Mann.

MANN: You begin to understand, from the colonized, what colonialism really is. And because Danai's too smart to make it one person's right and one person's wrong, or black and white in any way – she's so interested in grey areas. She's so interested in how messy human beings really are.


LUNDEN: Even though "The Convert" is set in the late 19th century, Danai Gurira thinks it has relevance to the problems of contemporary Africa.

GURIRA: What dynamics of our traditions do we retain? And what are we retaining only because we got colonized? And so, there was this huge, you know, stop gap that happened, in terms of how we were taken over. And we were not able to evolve in our way, in our own time.

LUNDEN: "The Convert" finishes its run in Princeton this Sunday. It then moves on to the Goodman Theatre in Chicago and the Centre Theatre Group in Los Angeles.

For NPR News, I'm Jeff Lunden.


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