Somewhere in West Africa in the 1980s an actor is sent out, by some cultural affairs bureaucrat, on a tour of various communities to elucidate Shakespeare for them. As his on-stage partner doesn’t show up, the trooper wrangles with the stage manager, fuzzes about his spouse, takes increasingly long sips from a bottle of “water”, mixing them with bits and bobs of the Bard. The flurry tableau of the situational mixed with Shakespeare’s words unintentionally shifts to become a more and more saturated confessional.