Beru Tessema’s Wolves on Road, directed by Daniel Bailey, follows 21-year-old Manny, who we first see flogging fake designer clothes from his mum’s living room, trying to navigate the world of crypto-currency with his best friend Abdul in an attempt to make enough coin for a penthouse flat in the city. Meanwhile, Manny’s mum Fevan is working to try and open up her own restaurant, and nurturing her relationship with her new beau Markos, despite Manny’s petulant grumblings.
The first act is a lot of heavy exposition into the world of digital banking without really delving deep into any of the characters, and so I learned a great deal about the inner workings of mobile investing, but next to nothing about the people I was supposed to invest in emotionally.
However, it does begin to pick up at about the 1-hour mark, with the discontent between Manny and Markos actually surprisingly forming the basis of some of the most engaging moments of the piece. Their argument at the end of Act One serves as a satisfying climax to the ‘before’ half of the story, with Fevan having to stand between the two, and choosing to side with Markos. Unfortunately, though, we get no resolution, or even real acknowledgement of this from any of them in act two. Instead, when we see them together thereafter, nothing at all has changed within their dynamic.
The second act begins with us being indoctrinated into the crypto community, with DGX founder Devlin, a local lad from the estate turned big-time Canary Wharf crypto bro, selling us on the ideology of banker-less banking. Jamael Westman is absolutely captivating in the role. His speech is equal parts TED Talk and cult leader as he exudes a certain charming relatability that makes you hang on his every word.
He shines a stark light on the institutionalised racism that the UK’s financial system is entrenched in, telling us about the ways in which immigrants are taxed relentlessly just to support their loved ones, and how crypto is the answer to creating a new and improved system.
Again though, despite this great setup for some dramatic conflict and opportunity to drive the message of the piece home for the audience, we don’t really get to see the extent to which this can impact the lives of those it discriminates against. Sure, our protagonists lose out on their investments, but everyone seems utterly unaffected by it as we see them all have a pretty happy ending. No one appears changed in any way and the piece overall is just left feeling somewhat lacking.
Where the production sings is the use of projection onto Amelia Jane Hankin’s beautifully minimalistic set. Lighting designer Ali Hunter and video designer Gino Ricardo Green have worked together immaculately to create a seamless and impressive visual that brings the audience further into the world of the play by allowing us to see it through the virtual eyes of the protagonist.
Rating: ★★☆☆☆
