Culver City Observer -

In a world set apart from holy matrimony based on true love, where complex old-world traditions are nurtured by some, but collide with new dynamics of social order, and with inevitable questions about optional free-will for a young teenage girl living in the small southern African Zimbabwe town of Salisbury, under British jurisdiction, the late 19^th century story is told from a black point of view.

Discover what defines the risks and challenges as a young woman from the Shona people named Jekesai, breaks away from cultural and domestic long-held traditions of arranged marriage, as her story unfolds, struggling to find her identity in “The Convert,” which opened last Thursday night at the Kirk Douglas Theater in Culver City.

Winner of the 2011 Stavis Award and Edgerton Foundation New American Plays Award, ‘The Convert,’ which is part one of a trilogy about Zimbabwean identity told from a women’s perspective by playwright and actress Danai Gurira, centers on the life of teenager Jekesai, who is sandwiched between old world traditions of Ancient Southern Africa and Western culture and Christianity.

Commissioned by the Center Theater Group and co-produced with the McCarter Theatre Center (Princeton, NJ) and the GoodMan Theatre (Chicago), the three-act play sheds light on the debatable practice of arranged marriage in developing colonial Zimbabwe, and where loyalties and allegiances lie in the face of moral ideals of faith and new Christian identity.

From the largest indigenous community in Zimbabwe, formally Rhodesia, the first act of the play introduces the young bare-breasted Jekesai adorned with native jewelry, superbly played by Pascale Armand, who is poised to be married against her will.

With a tangible sense of self, rather than being forced to marry an elder as his 10^th wife given to him by her unorthodox uncle who is in pursuit of his own interests, played by Harold Surratt, and along with another relative riddled with his own foibles, Tamba, who is an accomplice to the tense situation, played by Warner Joseph Miller, the subversive Jekesai escapes, condemning the centuries-old practice of arranged marriage.

Thanks to her intervening aunt, Mai Tamba, who never abandons her pagan roots, effectively played by Cheryl Lynn Bruce, works as a housekeeper for the local missionary, the dutiful Chilford Ndlovu, who refers to himself as “A man of God,” is adeptly played by LeRoy McClain. Ndlovu, who has an extreme aversion to the practice of polygamy and carries a strong disdain for traditional native customs and favors Christian ideology with hopes of one day becoming a priest, steps in to save Jekesai from a life of misery, providing safety from the ravages of marriage to a man she does not love.

Leaving behind her past, renouncing old traditions and transforming to a new way of thinking after a christening ceremony by Ndlovu in his living room, represents a rebirth into a new life as a Christian, Jekesai, dressed in conservative floor-length domestic wear, is now called Ester.

As the almost three-hour play unfolds, which spans a little over two years in time, the fervent Ester, with a handle on the English language, is now a member of the missionary’s humble household, working as his housekeeper alongside her aunt.

As Ndlovu’s protégée, Ester, rejecting all pagan ethos, is a quick study in Biblical passages, sings the praises of Jesus confirming her new dedication to Christianity, belts out a confident rendition of “Amazing Grace.”

Armed with a new sense of self, with attempts to control her destiny, Ester for the first time in her life, faces prejudice in a racist society, because outside the safety of the Ndlovu household, another type of war is unleashing.

Act two reveals Ester facing insurmountable challenges, as she struggles in search of her own cultural identity, as organized revolts against colonial and religious structure erupts in southern Africa, caused by British colonization.

Taking place on a single set, the Ndlovu living room has evidence of strong Christian faith, with a cross on the wall and a large Bible on a corner table centered between two red candles, the simple set was designed by Daniel Ostling.

As indigenous music with South African influences intermittingly plays gently in the background, the cast of seven is safely in the hands of multi-award winning director Emily Mann, who maintains artistic substance, and deftly raises our consciousness, challenging long-held ideals that govern certain beliefs.

With attention to detail, Mann deliberately and carefully gives the audience some insight into Zimbabwean culture and, without necessary translation, orchestrates selective parts of the play spoken in Shona dialect.

As bits of humor are delicately weaved throughout, other cast members include Ndlovu’s confidant, where the forefront of conversation between the two is about the imminent intrusion of the ‘white-man,’ the Chancellor, expertly played by Kevin Mambo, and Prudence, keenly aware of cultural tensions in the air, is his dedicated, cynical fiancé, and at times vulnerable, yet she later emerges stronger from an acute situation, is radiantly played by Zainab Jah.

Playwright Gurira draws on inspiration for “The Convert” from her own Zimbabwe family history.

Told from a deeply personal perspective, the coming of age story, Gurira who was born in Iowa to Zimbabwean parents, but grew up in Harare, Zimbabwe from ages five to 19, is the winner of the 2006 Obie Award, the 2006 Outer Critics John Gassner Award, and the 2004 Global Tolerance Award for her work in ‘Continuum,’ in which she co-created and performed.

As a powerful roller coaster ride of emotions prevail in the third act, and the divisive rebellion continues outside the walls of the Ndlovu household, and dissent against Pagan practices lives inside, pitted against Christian ideology, the pivotal acts of forgiveness and confession are introduced, where Ester, a great woman of courage, is at a crossroads, summons the strength to make the right decision.

While juxtaposing old world ideas with new ones, “The Convert” is a sure bet that offers Ester’s requisite emotional honesty as a delicate portrait of the human spirit, follows her heart and seeks what’s true, as she paves her own path through life.

Performances continue to May 19 at the Kirk Douglas Theater (9820 Washington Blvd). For tickets and information, call the Center Theater Group box office or visit www.KirkDouglasTheater.org